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French Language 



AND 



. Conversation 

FRANCOIS BERGER 

" CHEVALIER DE LA LEGION D'HONNEUR " 

Author of " New Method of Learning the French Language " 

Published by D. Appleton & Co., and of books adopted 

by the " Universite " of France and the City 

of Paris for public schools. 



First Book. 




Price, 75 Cents. 

FRENCH ACADEMY OF THE UNITED STATES, 
853 Broadway, New York. 

Copyright, 1893, by F. BERGER, all rights reserved. 



f^> 



PREFACE. 




Generally students in French buy a lot of text- 
books, but it is needless to say that books alone do 
not make a scholar. 

The author's aim has been to give pupils one com- 
plete book, sufficient to enable them to acquire the 
French language, with the aid of a teacher. 

The same book is also a great help to the teacher, 
as he has only to elaborate certain parts. 

A glance over the book will show the whole 
system, imparting to the pupil : 

ist. A correct pronunciation. 

2d. A large vocabulary of words. 

3d. The way to put the words together to form 
phrases and sentences, for conversation. 

Then comes the literature, etc., if the pupil 
wishes to become a thorough scholar. 

The Author. 

August ist, 1893. 



Note. — If in some places English and French sentences 
are mingled, it is because the book is to be used both by 
English and French students. 



INTRODUCTORY DIALOGUE. 

Me.— Sir, I want conversational lessons in French. 

Professor. — Madam, are you already acquainted with 
the French language ? 

Mrs. B. — Yes, sir. I followed, for several years, a course 
in a School of Languages in this city. I understand pretty 
well what I read, but I do not understand what is said to 
me, and I cannot speak. 

Professor. — Do you know the verbs, madam ? 

Mrs. E. — A little, sir. 

Professor. — Let us see ; for instance, how does one say 
in French, to know ? 

Mrs. E. — Savoir. 

Professor. — And knowing ? 

Mrs. E. — Savant 

Professor. — And known ? 

Mrs. E. — Ah I I don't know . . . savu ? 

Professor. — Well, madam, out of those three words 
there is but one, the first, that you said correctly. The 
second is sachant, and the third su. If you wish to talk 
properly you must begin by mastering the verbs, at least in 
their principal parts, which is rather easy if you follow a 
good method. 

Mrs. E. — But, professor, in the Schools of Languages they 
teach French by the natural method, caring but very little, 
or not at all, for the verbs. 

Professor. — That is true ; and this is the very reason 
why those schools have not a single pupil capable of speak- 
ing, writing, or forming simple sentences correctly. Why 
so ? Because the verbs forming the basis of the language, 
how can we talk properly without the knowledge of them ? 
Let us take, for instance, the following sentence : " I can- 
not repeat what she has said, having promised to keep silent/ 
in which we find seven verbs out of thirteen words ! 



Mrs. R. — Professor, see, however, the child. As Mr. 
Sauveur says, he talks, and yet he did not study the verbs. 

Professor. — The child, madam, speaks very incorrectly ; 
besides, he cannot read, write, or spell. Is that what you 
Want ? What the child knows he learned like a parrot, by 
hearing it repeated hundreds of times by the mother who 
chats with her baby from morning to evening, and often 
from evening to morning. The result obtained (which an 
adult could never get from a teacher) is certainly something, 
but it is not what is needed by a lady of society. 

Mrs. R. — But Dr. Sauveur announced, through the press, 
that by his natural method one acquires the French language 
without the aid of grammar, dictionary, or English. 

Professor. — This announcement, madam, is sufficient, 
by itself alone, to show the absurdity of the Sauveur natural 
method. 

Why? Without grammar! Without the verbs, conse- 
quently. But Mr. Sauveur omits to tell that the child 
whom he mentions so often is, later on, sent to school pre- 
cisely to learn the verbs and the grammar. 

Without dictionary ! But if the pupil wishes to know any 
word ? He will be obliged to run to the school to ask ! 

Without the aid of English ? When one begins to study 
French it is the same as studying Russian or Chinese. Now, 
what could you, madam, understand of a lesson in Chinese 
without a word in English ? Let us see, madam ; I am 
going to give you a short lesson in Russian, or rather in 
Chinese, according to Sauveur's system. 

Professor. — 

ft - # 4f £' 

(Woh hung jar yutt kooann.)f 
Mrs. R. — I do not understand. 

* This means in English : I walk with a stick in hand, 
t Phonetic translation of the Chinese sentence. 



Professor. — [Aside : She does not understand, let us ra 

pe " i " & - & M ' & 

(Woh hung jar yutt kooann. ) 
Mrs. R. — I cannot guess a single word. 
Professor. — [Aside : What ! not yet ! with such an ad- 
mirable system, again let us repeat.] 

& - It M & 

(Woh hung jar yutt kooann.) 

Mrs, R. — Impossible to catch a syllable. Professor, will 
you kindly tell it to me in English, first. 

Professor. — [Aside : Strange ! strange ! Indeed ; this 
pupil lacks intelligence, let us try again.] 

# — # Ai & 

(Woh hung jar yutt kooann.) 
Mrs. R. — Don't go on, I pray you, I feel tired. 
Professor. — [Aside: She is stupid or hard of hearing; 
let us try it once more.] 

«. - & M & 

(Woh hung jar yutt kooann.) 

Mrs. R. — [Aside : I cannot stand it any longer !] Stop, 
Professor, I entreat you ; it makes me ill. 

Professor. — [Aside : Truly, she must be ill, as she can- 
not understand what I say ; let us repeat for the last time.] 

*. - * 4? # 

(Woh hung jar yutt kooann.) 
Mrs. R. — [Rising somewhat excited:] Professor, I really 
must go ; good-by. 



Professor. — [Saying the following in Chinese as his sys- 
tem does not allow a single word in the mother tongue.] 
Good-by, madam, but do not use any English at all, please. 
You may say that after this one lesson you are not yet able 
to speak Chinese ; but that makes no difference. Speak all 
the same ; talk with me, like a child with its mother ; look 
at my gestures ; imitate the sounds I utter ; repeat it over 
at home, and now, good-by, madam. 

Mrs. B. — [Goes out hurriedly, leaving the door ajar, and 
exclaims :] At last, out ! Saved ! saved ! Thank God. He 
will never see me again, no, never ! 

Professor. — [Who heard it from inside.] That does not 
matter. It is always prudent to make them pay a quarter in 
advance. 

Professor. — This, madam, is a practical instance of the 
natural method used in schools of languages. Is it not amus- 
ing and very interesting ? 

Mrs. II . — And what do you think, sir, of the Meisterscha/t 
system ? 

Professor. — Some people think that it must be a big sys- 
tem, as Meisterscha/t is rather a big word, beyond their 
comprehension. But, fortunately, Professor Delon's pamph- 
let proves that the Meisterschaft pronunciation, books, and 
system are entirely wrong. Besides, the Meisterschaft has 
been ridiculed, with a great deal of wit, by Mark Twain in 
the Century Magazine, and it would be difficult, after all 
that, to find a teacher really worthy of his title to recom- 
mend the system. 

Mrs. B. — However, I have read in the Meisterschaft- 
Gastineau's* circulars, testimonials delivered by men of 
note, Messrs. W. D . . . . and General E 

Professor. — That is so, madam, but the fun of the thing 
is that neither of these two gentlemen are capable to speak 
or write correctly in French. This fact shows also the little 

* Prof. Gastinean has lately given up the Meisterschaft system, and made a 
book of his own, the French pronunciation of which, as given in English, ia 
wrong from the beginning of the book to the end. 



value of testimonials, generally speaking. 

As to the Berlitz's Method, so largely advertised, here is 
the opinion of Mrs. Emily Eayner, the well-known editor, 
who says : . . . . " and any intelligent person under- 
stands that without the knowledge of the French verbs 
nothing can be done properly. A lack in this respect is 
the very reason why out of so many studying French but 
a few speak correctly. The so-called natural methods, pay- 
ing little attention to the verbs, are merely deceiving inno- 
cent pupils." Professor L. P. Braive, in his pamphlet, 
41 The Study of the French Language," writes : 

u Berlitz's book {natural method) does not even give the conjugation 
of the verbs to have and to be, and this explains why Berlitz's pupils 
are unable to say correctly in French, ' I had some trouble this 
morning,' as has been stated by pupils of his, whose names have been 
taken and kept in order to prove this fact in case of need'' 

Mr. Berlitz's following sentence, the queerest French 
ever written by a German : 

Pourquoi n'etaiUce pas trop tant pis qu'il eut une mauvaise femme ? 
is taken out of his method, page 85, and gives an idea of 
the kind of French taught by Berlitz's method, which may 
perhaps be good for German, his mother tongue, but is en- 
tirely wrong for the French language. A teacher should 
confine himself to his own language in writing books. 

Professor Berger's method is as plain as it is logical. It 

consists of : 1st, Teaching how to pronounce correctly ; 2d, 

a vocabulary of 502 words, by object teaching ; 3d, the way 

to form one's own sentences. Then comes the literature, 

etc. 

Emily Eayner, Editor. 



o 

H 



Key to Berger's New Method of French Pronunciation. 



vxn 
°0 



li >• 

►I 



If 



1. a sounds as in la 

2. e " 

3. I, y " 

4. o " 

5. u 

6. ai 



83 

ere 



B p. 

I"? 



^8 



•o 

c 

3 
O 
(0 

+* 





7. an, en " 

8. ei 

9. eu " 

10. in 

11. on " 

12. ou " 

13. oi 

14. oin " 
L 15. un 



t6 

> Popularity. 1 
po 
pu 

air or as a in fair, 
enfant " on in don-key.* 

a in ra-re. 

u in fu-r. 

an in van-quish.* 



reme 

deua? 

vin 

bon 

foil 

roi 

loin 

brun 



on in son.g.* 

oo in foo-L 

O-a or wa in was. 

o-in. 

un in brun-t.* 



a © : 

ffl tj M 

fcH u at 

® oj 3 

2 s 

>>r3 ■ 

S<? : 

■Sit 



■d 



C8 || 



I- 2 • 
2S§ 



By the new French system, the consonants are named as if o -g « 



p — _, — 

g- 1 followed by c having the sound of e in the English word her : 

g^ bed fghjklmnpqrstvxz. '^ 

P ® be se de fe ghe he je ke le me ne pe qe re se te re kse ze. * 



C = fc,ex:cle\ 2 5 = S. 
C before e or \ = S. 
Ch = Sh, ex: chaud. 3 
6 hard, ex: gauche. 4 
6 soft before e or \ = S of 
pleasure, ex: rouge.' 



H is mute, ex: Aeure. 
H, HI liquid = English ye 

(obscure), ex: fillg. 
J = S of pleasure, ex: je. 

Ph = f, ex: phrase. 

R strongly uttered. 



between vowels = Zi 

T = s in tion, tiel, tial, 

but not in French verbs. 

X = eks, ex: expirer. 6 
X = egS,ex:exemple. 

Y between vowels = 11. 



1. A stress is generally to be put on the last part^of a French word, preventing 
the use of the English accent, so bad in French. - 2. e has a short sound, while £ 
has a broad sound.— 3. One or two final consonants are silent, r excepted.— 4. au 
and eau =0 as in no.— 5. Final e, without sign over it, is mute, except 
in monosyllables : le, que, etc.— 6. Final er = &.— 7. See page 9 for the sound 
of em. 



en 

Qi 
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3 

Z 
O 

I— I 

< 
P 
H 
O 

z 







2 

o 

< 

l-H 

O 
Z 

z 
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ffl 
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z 

w 











B 


d 


d 

3 


3 


3 

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!h 


cU 




,Q 


Oh 


/Oj 


d 








^ 


^J 


to 






OJ 









s 

3 









ji ■ - 

-5 g ^ 03 .5 

.5 .5 jd a 03 

j^ 4-1 +-> M *+-t 

.S - - 

(0 

d g s s § 

A .5 >> '3 '3 


d - 3T 

"•H Q 



s 

c 

V 


c 

03 
1) 


03 


c 

03 
C 




a 






























to 










aJ 










a 


a5 


a 


fl 


a 


Q 


cd 


<D 


0) 



« bAO 

fl} , ~ M OJ CO 

> to „. . d „« 
cd 



6 cd Sb 
o M S 






CO ^) ^ O *J V- J3 

- -S i« S3 

a <u *^ ^ ^ > 

•S a c [j » S d 

> v.. o 7j *J o w 
g^ CO m & 

■d * « 3 8 § fc 

, Op ^<o 

o 

G 

o 



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<u 







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H 


<-t-J 


V 


3 


a 


d 


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CJ 


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CO 


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2 


3 


(T) 


w 


8 


P 



u C <D — 

tj ^ a a<5 E -d 
J£ ° .2 o ^ rt £ 

1^ ?/5 *J m cd 
O S.S5 cu 03 <U O 

O. 



s ^ § ^ - 

.2 2 d w) S o 

^ 2 rt 2 d 






P"S5 fi 



bJOoJ C 
d en .2 
■^ to *j 

<u ex 
1) 

u. O 

dP3 W W 



^5 B x 



QO'S 
eo +» > 



O 

6 



10 

In the combinations of letters on the pre- 
ceding page, 9, and on page 8, the vowel retains 
its natural sound when the nt or n is to be con- 
nected with the following sound or a final e ; 
also before m m or n n y as in : 

An — Canot. Canne. Banane. 

Am — Rameur. Flamme, Rame. 

Ean — Jeanne (Ja-n). Jeannette (Ja-nete). 

En — Enorme. Renne (re-n).* Rene. 

Em — Email. Femmef (fa-m). Meme. 

In — Inimitable. Innocence. Fine. 

Im — Timide. Immense. Sublime. 

Ym — Synonyme. Hymne. 

Ain — Humainement. Plaine. 

Aim — Aimable. J'aime. 

Ein — Pleinement. Pleine. 

Ien — Biennal (bi-en-nal). 
f On — Bonheur. Bonne. C6ne. 

\ Om — Comete. Comme. Dome, 
i 

(^ Eon (Pigeon) — Pigeonneau (pi-jo-no). 

Oin — Moineau. Moine. 
f Un — Brunir. Tunnel (tu-nel). Brune. 
\ Um — Fumee. Ecume. 
[ Eun — Dejeuner. Jeune. 

* The letter e before mm generally sounds a. Em = an in em- 
mener, emmancher, etc. 

+ En a an in ennui and derivative. 
En - a in hennir, solenneland derivates (ha-nir. etc.). 



If 

RULES OF PRONUNCIATION. 

{Exceptions will be found in the Dictionary^ 

Final consonants ( r excepted) are mute unless forming part 
of the combinations on pages 8, 9 and 10. 

A final consonant has to be connected with the following 
vowel for the sake of euphony. 

Two same consonants 11, nn, tt, etc., sound like a single one. 

e and cs final are mute : une ros<?, des ros^r. 

cnt final, in verbs, are mute : lis donnent. 

between two consonants is almost mute : maintenant. 
e before a final consonant = & : sifflet (si-fle). 

er final =» £: donner. er sound er in fer, hier, avant-hier, 
amer, fier, hiver, cher, mer, Jupiter, ver, enfer, cuiller. 

er inside a word = £r, ex : pervertir (per-ver-tir). 

e sounds EU as in deux (but short). When ending a sylla- 
ble, inside a word, and in monosyllables, ex: mer-cre di ; 
le me, ne, que, etc. 

«x = egz : exact, ex = £ks, ex : sexe (seks). 

ez final = £, ex : nez, venez. 

cii = K, in chaos, chlore, choeur, cholera, etc. 

h is sounded in hate, honte, heros, hache, hair, haie, 
hamac, haras, hardi, hareng, haricot, harpe, hazard, 
haut, hernie, hetre, hibou, homard, hotte, dehors. 

i! 9 ill, are not liquid in: mille, million, ville, village, tran- 
quille, imbecile, futile, exil, cheni/, utile, etc. 

aifi = a-il ex: rail (ra-il, liquid sound of il). 

ao — A, in faon, paon, taon, Laon. (fan, etc.). 

s and x = z, between two vowels. 

t =* S, in final ttel, tial\ also sometimes in final tie. 

1 = s, in tion t excepting in verbs. 

11 is mute after g and q : ligwe, laiqwe. 

y = T. Between two vowels ■= ii ; also in pays (pai-Lr). 

* This si^a=>mcans equal or sounds like. 



Iere PAR TIE. 

Bonjour. Bonsoir. Bonn^nui/. 

Madam*?. Monsieur. Mad^moiseLfe. 2 

Cowmen/ 3 vous portes-vou^? 4-5 

Tre* bien, 6 je vous remerci^. 7 - 8 

E/ comment alle^-vou^, monsieur ? 

Je vais assez bien, merci. 

Ej-Z-c*? 9 que je vouj derange ? 

Non, madams, pa^ du tou/. 

"Est-ce que 10 je suis en retard? 

Oui, vous etes un peu en retard. 11-12 

Ajseyez-vou^, 13 je vou^ prk. 

Je suis a vouj, dans un momen/. 

II fai/ beau temps, aujourd'^ui. 14-15 

II fai/ mauvaii". II fai/ chau^. II fai/ froi*/. 

i. A vowel retains its natural sound before nn, etc. (see 
page 10). — 2. e followed by a consonant ==e or ai of air. — 
3. Two consonants mm, etc. = a single one. — 4. ez = e — 
5. A hyphen - is usfed to connect words. — 6. Bien=Bi-in. 
— 7. e ending a syllable = French eu short. — 8. er inside a 
word=er. — 9. Est-ce = ec. — 10. u after q and g is mute. 
11. The sign A over a, e, i, 6, u indicates a broad sound. 
— 12. Finales are mute except in monosyllables, les (le) etc. 
— 13. y between vowels = ii. — 14. The mark 9 indicates the 
elision of a, e or i. — 15. h is generally silent, 



1st PART. 

Good-day. Good ev'ening. Good nig At. 

Madam. Sir. Miss. 

How do you do ? 

Ver'y well, I thank* you. 

And how are you, sir? 

I am pret'ty f well, thanks. 

Do I disturb' you? 

No, madam, not at all. 

Am I behind' time ? 

Yes, you are a little late. 

Sit down, I prajy you. 

I am with you in a mo'ment. 

It is fine weath'er to-dajy. 

It is bad weath'er. It is warm. It is cold. 

* th a le son dur dans thank, thanks, et le son doux 
dans with, weather. 

f La lettre e dans pretty se prononce i bref. 

Note. — Pour la prononciation anglaise, voir la clef, a la 
fin du volume. — Dans la premiere partie du livre, les conson- 
nes muettes sont imprirnees en italique, pour la facilite de 
l'eleve. 

Note. — For the French pronunciation, see the key on 
page 8. — In the ist Part of the book, silent letters in French 
words will be printed in italics, as a direction to beginners, 



u 

II fai/ du vent. II pleut. II neig^. II gble. 

Eh bien, co^mencon^ notnr legon. 

Etes-vous prete pour la le9on, mad^moiseLfc? 

Oui, monsieur, je suis tout a fai/ pret*. 

Ave^-vous etudie un peu? 

Oui, monsieur, j'ai etudie un peu. 

Ave^-voux fai/ votr* exercic^ ? 

Oui. — Voule^-voui* me le donner ? 

Je le corrigerai pour la prochain* le£on. 

Avez-vouj votr* livre ? 

Oui, monsieur, le voici. 

Voule^-vou^ lir<? le* mots de la cl£? 

Pouves-vouJ les reciter par coeur ? 

Encore un<? fois, s'il vouj plai/? 

Voulez-voui' bien me preter un crayon ? 

Quelle henve ert-il, monsieur? 

II est dix* ^eur^i* e/f demi^. 

II est onz^ ^eur^ moini- vingt (minute). 

II e^t onz* ^eur^ et vingt (minute). 

Je dois quitter plui" to/, aujourd'^ui. 

Voules-vouj bien m'excuser ? 

Fait^ comme il vouj plaira. 

Au revoir, mo«sieu^ ; a biento/. 

* Final x and s, when to be carried over, = z. f Et sounds e. The t of 
et meaning and, is never pronounced even before a vowel or a silent h. 

Note.— Sometimes the author deems it necessary to follow, in his transla- 
tion, almost literally the French text, in order to make the sentence more 
comprehensive for beginners. 



is 

It is win'dy. It rains. It snows. It freezes. 

Well, let us begin' our les'son. 

Are you read'y for the les'son, miss ? 

Yes, sir, I am quite read'y. 

Have you stud'ied a little ? 

Yes, sir, I have stud'ied a little. 

Have you done your ex'ercise ? 

Yes. — Will you give it to me ? 

I will correct 7 it for the next les'son. 

Have you your book ? 

Yes, sir, here it is. 

Will you read the words of the key ? 

Can you recite' them by heart ? 

Once (o=wu) more, if you please? 

Will you lend me a pen'cil? 

W^at o'clock is it, sir ? 

It is ha/f past ten. 

2 

It is twen'ty min'utes (u=i) to elev'en. 

It is twenty min'utes past elev'en. 

I must leave soo'ner, to-day. 

Will you kind'ly excuse 7 me ? 

Do as you please. 

Good-by, sir; I will meet you soon again' (ai = e). 

NOTE SUR L'ACCENT,— L'accent anglais consiste a prononcer, dans 
Ies mots polysyllabes, plus fortement une syllabe que nous indiquerons par 
le signe de convention 7 qui suivra immediatement la syllabe accentuee. II 
en rdsulte forc^ment que ie son des autres syllabes sera, tant soit peu voile, 
obscur L'importance de l'accent ressort du fait que sa position sur telle 
ou telle syllabe chipgera quelquefois la signification du mot. 



i6 
WORDS AND IDIOMS MOST IN USE. 



FRENCH. 


ENGLISH. 


FRENCH. 


ENGLISH. 


Popularite, 


Popularity. 


Mai, 


May. 


Enfan/, 


Child. 


Juin, 


June. 


Deux, 


Two. 


Juille/, 


July. 


Vin, 


Wine. 


Aout, 


August. 


Bon, 


Good. 


Septembn?, 


September. 


Fou, 


Fool. 


Octobrc, 


October. 


Roi, 


King, 


Novembrc, 


November. 


Loin, 


Far. 


Decembre, 


December. 


Brun, 


Brown. 


NOMBRES. 


NUMBERS. 


Air, Reine, 


Air. Queen. 


Un, 


One. 


JOURS. 


DAYS. 


Deu#, 


Two. 


Lundi, 


Monday. 


Troij, 


Three. 


Mardi, 


Tuesday. 


QuaXre, 


Four. 


Mercredi, 


Wednesday. 


Cinq, 


Five. 


Jeudi, 


Thursday. 


Six (x = s), 


Six. 


Vendredi, 


Friday. 


Se/t, 


Seven. 


Sam^di, 


Saturday. 


ZTuit, 


Ei^vfct. 


Dimanchtf, 


Sunday. 


Neuf, 


Nine. 


MOIS. 


MONTHS. 


Dix (x = s), 


Ten. 


Janvier, 


January. 


Onze y 


Eleven. 


Fevrier, 


February. 


Douze, 


Twelve. 


Mars, 


March. 


Treize (ei=ai), Thirteen. 


Avril, 


April. 


Q#atorz*, 


Fourteen. 



17 

WORDS AND IDIOMS MOST IN USE. 



FRENCH. ENGLISH. 

Quinze, Fifteen. 

Seiz^, Sixteen. 

DLx-se/t, Seventeen. 
Dix-/£uit (x=z), Eighteen. 
Dix-neuf (x=z), Nineteen. 
Viri^-/, Twenty. 

Vin^t e/ un, Twenty-one 
Vmgt-deux, Twenty-two 
Trent^ (en=an), Thirty. 
Quarante, Forty. 
Cinq&ante, Fifty. 
Soixant^ (x=s), Sixty. 
Soixant^-dix, Seventy. 
Q^atre-vin^, Eighty. 
Q&atre-vin£-/-un, 81. 
Q#atre-ving-/-dix, 90. 
Quatre-vingt-onze, 91. 
Cen/, A hundred. 

Mil/e, A thousand. 

Million, A million. 

Zero, Naught. 

Bonjour, Gooddajy. 
Bonjour, Good morning. 



FRENCH. ENGLISH. 

Bonsoir, Good evening. 
Bonn^ nui/, Goodni^t. 
Madame, Madam. 

Monsieur, Sir. 
Mademoiselle, Miss. 
Cowmen/, How. 
Vouj, You. 

Porter, To carry. 

Se porter, To be (health). 
Trei*, Very. 

Bien (en=in), Well. 
Je (e=eu short), I. 
Remercie, Thank. 
Remercier, To thank. 
E/, And. 

Allez-vous ? Go, are you? 
A/ler, To go. 

Je vaii", I am, I go. 

Asses, Enough (gh=f). 
Asses bien, Pretty well. 
Merci (er=air), Thanks. 
Est-ce que ? Do ? 
Je derange, I disturb. 



i8 



WORDS AND IDIOMS MOST IN USE. 



FRENCH. ENGLISH. 

Deranges, To disturb. 
Non, No. 

Pa* du tou/, Not at all. 
Je suis y I am. 

En ret an/, Late. 
Asseyez-voiLf, Sit down. 
Je pri*, I pray, beg. 

Prier (er=e),To prajy,beg. 
A, At, to. 

A vous> With you. 

Un, A. 

Momen/, Moment. 

II, It. 

II fai/, It makes. 

Fair^, To make, do. 

Beau (eau=6), Fine. 
Temps (em=an), Weather. 
Aujourd'^ui, To-dajy. 
MauvaLr, Bad. 
Chaud (au=6), Warm. 
Froi^f, Cold. 

Du, Some, m. 

Ven/ (en=an), Wind, 



FRENCH. 

Et^-vouj ? 

Prete, 

Oui, 

Tout a fai/, 

Avez-vous ? 

Etudie, 

Etudier, 

Peu, 

Un peu, 

Fai/, 

Votre, 

Exercic^, 



ENGLISH. 

Are you ? 

Ready. 

Yes. 

Quite. 

Have you ? 

Studied. 

To study. 

Little. 

A little. 

Made. 

Your. 

Exercise. 



Voules-voui" ? Will you ? 
Me, Me. 

Le, It, m. 

II pleu/, It rains. 

II neige (ei=ai), It snoze/s. 
II ghle, It freezes. 

Ehbien? Well. 
Cotfzmengonj, let us begin. 
Cowmencer, To begin. 
Notrc, Our. 

Lefon (e=eu), Lesson. 



*9 
WORDS AND IDIOMS MOST IN USE. 



FRENCH. ENGLISH. 

Donne r (er=e), To give. 
Corriger, To correct. 
Corrigerai, I will correct. 
Pour, For. 

La, The, f. 

Prochain*, Next. 
Ca/^ie r(er=e), Hand-book 



Numero, 

Un, 

Voici, 

Lir*, 

L,es (e=e), 

De, 

Cle, 

Recite r, 
Par, 



Number. 

One. 

Here is. 

To read. 

The, pi. 

Words. 

Of. 

Key. 

To recite. 

By. 



Cceur (oeu=eu),*Heart. 
Encore (en==an), Again. 
Un*, One, f. 

Fou, Time. 

S' (si), If. 

S'il, If it. 



FRENCH. ENGLISH. 

Plait, Pleases. 

S'il vou^ plai/,If you please 



Prete r, 

Crayon, 

Quelle, 

Henre, 

Est (e=e), 

II est, 

Erf-il ? 

Dix, 

Demi*, 

Onz*, 

Vingi, 

Moinj, 

Minute, 

Je doij, 

Quitte r, 

piuj, 

To/, 

Phi* to/, 
M' (me), 



To lend. 
Pencil. 
W/fcat. 
ZTour. 
Is. 

It is. 
Is it? 
Ten. 
Ha/f. 
Eleven. 
Twenty. 
Less. 
Minutes. 
I must. 
To leave. 
More. 
Soon. 
Sooner. 
Me. 



Excuse r(s=z),To excuse. 
YdSX.es, Do, make. 



20 



WORDS AND IDIOMS MOST IN USE. 



FRENCH. 

Comme, 
Plaira, 
PI aire, 
Au revoir, 
Biento/, 
A biento/, 

COULEURS. 

Roug^, 

Blan*:, 

Noir, 

Orange, 

Brun, 

Gris, 

Jaun^, 

Lilaj, 



ENGLISH. 

As. 

Will please. 
To please. 
Good-bye. 
Soon. 
(At) soon. 

COLORS. 

Red. 

W/fcite. 

Blade. 

Orange. 

Brown. 

Grejy. 

Yellow. 

Lilac. 



Ros<?, (s=z), Pink. 

Bleu, Blue. 

Ver/, Green. 

Viole/, Violet. 

GRAVURES. ENGRAVINGS. 

Je (e=eu short), I. 

VoLf, See. 

Lk, There. 



FRENCH. 

Un^, 

Joli^, 

Petite, 

Fill*, 

Son, 



ENGLISH. 

A,f. 
Pretty. 
Little. 
Girl. 
Her, m. 



Nom (om=on), Name. 
Est (e=e), Is. 



Elk (e=e), 
ELte a, 
Des (e=e), 
Cheveu-.*, 
Blon^-5", 
Boucle-j, 
Qui, 
Lui, 



She. 

She has. 
Some, pi. 
Hair. 
Blond. 
Curled. 
W/Sich. 
To her 



Retomb^/z/, Fall. 



Sur, 

Les (e=e), 

Epaul^, 

ELte port*, 

Rob*, 

De (e=eu short), Of. 

Velours, Velvet. 



Upon. 
The, pi. 
Shoulders. 
She wears. 
Dress. 



21 



WORDS AND IDIOMS MOST IN USE. 



FRENCH 


ENGLISH. 


FRENCH. 


ENGLISH. 


Noir, 


Blade. 


Gran^'mer*, 


grandmother 


Garni*?, 


Trimmed. 


Don/, 


f^hose. 


Dentelte-J, 


Lace. 


C (ce), 


This, it. 


E/, 


And. 


Cest (e=e), 


It is. 


Nceud (oeu 


=eu), Bow. 


L* (le), 


The. 


Ruban, 


Ribbon. 


A;miversain?, Anniversary 


EUe tien/, 


She holds. 


Nausanc*, 


Birth. 


Bouq^e/, 


Bouque/. 


E/ (e=e), 


And. 


La, 


The, f. 


A, 


To. 


Main (ain= 


=in), Hand. 


A qui, 


To whom. 


Droits, 


Rig/it. 


ELte veu/, 


She wishes. 


Sa, 


Her, f. 


O/frir, 


To offer. 


Gauche, 


Left. 


Fleur-.?, 


Flower-s. 


Pose^ (s=. 


z), Placed. 


Que (e=eu) 


WAat. 


Sur, 


Upon. 


Quel, 


W/fcat. 


Le (e=eu 


short), The, m. 


Quels, 


W/Sat. 


Bouton, 


Xnob. 


Quelle, 


WAat. 


Port*, 


Door. 


Voyez-vous '. 


* Do you see ? 


Indiq^ 


Indicates. 


A-t-el/e ? 


Has she ? 


lndiquer y 


To indicate. 


Port*-t-el/* ? 


Wears she ? 


Q*' (Que), 


That. 


Cowmen/, 


How. 


Qu'elle va, 


That she goes. 


Est-el/e ? 


Is she ? 


Chez, To, 


to the house of. 


Tient-el/^ ? 


Holds she ? 



22 



WORDS AND IDIOMS MOST IN USE 

FRENCH. 

Du, 

Corps, 
Persons, 
La tete, 



FRENCH. ENGLISH. 

Oft, W^ere. 

Quivi&ique-t- W/^at does it 
e\/e ? indicate ? 

Pourqz/oi ? W^y ? 
Pour, In order to. 

A 1' (a la), At the. 
Occasion (s=z), Occasion. 
Fete, Feast. 

Fete, Birthday. 

Voule^-vou^? Will you ? 
Fain?, To make. 

Professeur, Professor. 



Votn?, 


Your. 


Le ne#, 


The nose. 


Tour, 


Turn. 


La bouch^, 


The mouth. 


M' (me), 


Me. 


Le^ Ibvres, 


The lips. 


Expliqz/er, 


To explain. 


Le^ den/j, 


The teeth. 


Cet&, f, 


This. 


Lei 1 genciv^ 


, The gums. 


Gravun?, 


Engraving. 


La langue, 


The tongue. 


Nommez y 


Name. 


Le.? jou^, 


The cheeks. 


Moi, 


Me. 


Le menton, 


The chin. 


No#zme2-moi,Name me. 


Le cou, 


The neck. 


Quelques, 


A few. 


La gorg^, 


The throat. 



Partis, Parts. 



ENGLISH. 

Of the. 

Body. 

Person. 

The head. 
Les cheveu.*, The hair. 
Le fron/, The forehead. 
Le^ sourci/i", Eye-brows. 
Le^ cihy Eye-lashes. 

L,es paupier^, The eye lids 
Les yeujc (y=i), The eyes. 
Le^ temper, The temples. 
Les oreill^, The ears. 



Les epaules, Shoulders. 



WORDS AND IDIOMS MOST IN USE. 



FRENCH. 


ENGLISH. 


FRENCH. 


ENGLISH. 


Le bra^, 


The arm. 


D' (de), 


Of. 


Le coucte, 


The elbow. 


D'un, 


Of a. 


Le po/gne/, 


The wrist. 


Arbrc, 


Tree. 


JLa main, 


The hand. 


Bo/me/, 


Bonnet. 


Les doig'fo, 


The fingers. 


A/pele, 


Called. 


Le pouc^, 


The thum£. 


En (en=an,' 


> In. 


L'index, 


Forefinger. 


Frangaii 1 , 


French. 


Les angles, 


The nails. 


Cornets, 


"Cornette." 


Lei" pie^fr, 


The feet. 


Sej(e=e), 


Her, pi. 


Le cou-de-pie^,The instep 


Moui-selin^, 


Muslin. 


La chevilte, 


The ankle. 


Blanche, 


White, f. 


Les orteilf, 


The toes. 


DecoLtete^, 


Low-necked. 


INNOCENCE. 


INNOCENCE. 


Manche-s, 


Sleeves. 


Void, 


Here is. 


Courts, 


Short. 


Autr^, 


Other. 


Ceinture (ein=in), Sash. 


Un^ autn?, 


Another. 


Autour, 


Around. 


l'air (le air) 


The look. 


Tailk, 


Waist. 


A l'air, 


With a look. 


Croise^, 


Crossed. 


Candida, 


Candid. 


Giron, 


Lap. 


Assise, 


Seated, f. 


Certains, 


Certain. 


L' (la), 


The, f. 


Distance, 


Distance. 


Tombr^, 


The shade. 


Oiseau-#, 


Bird-s. 


A l'ombre, 


In the shade. 


Leur, 


Their. 



24 



WORDS AND IDIOMS MOST IN USE. 



FRENCH. ENGLISH. 

Ni</, Nest. 
Voyoiu-nouj? Do we see ? 

Ici, Here. 

Son/, Are. 

Qttel/e est ? W^at is ? 

Fornix, Figure. 

Corsage, Bodice. 

Quoi ? W/iat ? 

A quoi ? At, by w^at ? 

SCENE DRIVER. 

WINTER SCENE. 

Nouj, We. 

Somm^, Are. 

Zfiver, Winter. 

Neig^, Snow. 

Couvre, Covers. 

Terre, Ground. 

Depouill&f, Stripped of. 

Leurj, Their, pi. 

Feuill^, Leaves. 

Voila, There is. 

Mere, Mother. 

Avec, With. 



FRENCH. ENGLISH. 

Enfant, Children. 

Garcon-j, Boy-s. 

Beaucou/, Many. 
Nous voyonj, We see. 

Joi*, Joy. 

Repandu^, Spread. 

Charman/, ") 



Charman/j, 



V Charming. 



Charmant^, I 
Charmanto', J 

Cei" (e=e), These. 

Us son/, They are. 

Zfeureu.*, Happy. 

AM AM 

Us von/, They go. 

Avoir, To have. 

\Jne partis, A party. 

Traineau, Sleigh. 

Domestiqz^, Servant. 
Maison (s=z), House. 

Bes (e=e), Of the, pi. 

Qui tien/, JVho holds. 

Branch^, Branch. 



*5 

WORDS AND IDIOMS MOST IN USE. 



FRENCH. ENGLISH. 

On/, Have. 

Fax/, Made. 

Tron^, Trunc. 

Vieil, Old. 

Sont assis, Are seated. 

Le plus. The most. 

Jeun^, Young. 

Hou#, Holly-tree. 
L'aine (leaine), The older. 

Se, Himself. 

Tien/, Holds. 

Se tien/, Stands. 

Debou/, Erect. 

A droits, To the ri^t. 

Cord^, Rope. 

II est (e=e), He is. 

Conducteur, Conductor. 

II va, He goes. 

Conduire, To conduct. 

Familhr, Family. 

A gauche, To the left. 

On, One. 

Apergoi/, Perceives. 



FRENCH. ENGLISH. 

Chien (en=in), Dog. 

Qui aboiV, Who barks. 

Qui montre, Who shows. 

Par, By. 

Ja/p^men/i', Yelping. 

Lui au^si, He also. 

Prend, Takes. 

Un^ par/, A share. 

Derrier^, Behind. 

Le^ (e=e), Them. 

Empecher, To prevent. 

De tomber, To fall. 

Mem<?, Same. 

Temps, Time. 

Pousser, To push. 

Un peu, A little. 
Somm^-noux? Are we? 
Voit-on, Does one see? 

Avec qui ? With whom? 

Avec quoi ? With w^at ? 

Combien, How many. 

Y, There. 

Y a-t-il ? Are there ? 



26 



WORDS AND IDIOMS MOST 


IN USE. 


FRENCH. 


ENGLISH. 


FRENCH. 


ENGLISH. 


Sont-iLr ? 


Are they ? 


Venir, 


To come. 


Oui, 


Yes. 


Tenir, 


To hold. 


Ce, 


This m. 


Courir, 


To run. 


Qu' (que) ? 


W^at? 


Vivre, 


To live. 


Q^'a-t-il? 


W^at has he ? 


Battrc, 


To beat. 


Cela, 


That. 


Rompre, 


To break. 


Qu'il est, 


That he is. 


Voir, 


To see. 


Montre-t-il \ 


} Does he show 


Boire, 


To drink. 


Ou a-t-elte? W^ere has she? 


Savoir, 


To know. 


Etre, 


To be. 


Croire, 


To believe. 


Finir, 


To finish. 


Pouvoir, 


To be able. 


Recevoir, 


To receive. 


Vouloir, 


To be willing. 


Rendre, 


To return. 


Prendre, 


To take. 


Se hater, 


To has/en. 


Mettrc, 


To put. 


Pleuvoir, 


To rain. 


Suivr^, 


To follow. 


A/ler, 


To go. 


Rin?, To 


laugh (gh=f). 


Envoyer, 


To send. 


Ecrire, 


To write. 


Ouvrir, 


To open. 


Dir^, 


To sajy. 


Servir, 


To serve. 


Coudre, To sew (ew=o). 


Dormir, 


To sleep. 


Co?znaitre, 


To know. 


Sortir, 


To go out. 


Craindre, 


To fear. 


Partir, 


To start. 


Peindre, 


To paint. 


Sentir, 


To smell. 


Joindn?, 


To join. 



27 
WORDS AND IDIOMS MOST IN USE. 



FRENCH. ENGLISH. 

Un pay^(y=ii), Country. 
Un<? vil/*, A town. 
Un etag^, A story. 
L/escalier, The staircase. 
La fenetre, The window. 
La cuisine, The kitchen. 
Le salon, The parlor. 

Un^ chambn?, A room. 
Un^ table, A table. 
Un^ chaise, A chair. 
Un fauteuil, Arm-chair. 
Un sofa, A sofa. 

Un piano, A piano. 
Un taboure/, A stool. 
Le per*?, The father. 

Un enfan/, A child. 



Un fi/s, 

Un^ filte, 
Un Ziomme, 



A son. 

A daughter. 

A man. 



Un^femm^(e=a), Woman 
Un mari, A husband. 
Un£ femm^, A wife. 
L'oncte, The uncle. 



FRENCH. 

La tant<?, 
Le fren?, 
La soeur, 



ENGLISH. 

The aunt. 
The brother. 
The sister. 



Neveu, Nephew (ph=v). 

Urn? niec^, A niece. 

Un cousin, A cousin. 

Un^ cousins, A cousin. 

Un paren/, A relative. 

De l'argen/, Monejy. 

De la monnai^, Change. 
Le printem/j-, Spring. 

L'ete, Summer. 

L'autown^, Fall. 



Morning. 

Noon. 

Afternoon. 

Yesterday. 

To-morrozi'. 



Le matin, 

Midi, 

Apre^-midi 

J7ier, 

Demain, 

\Jne montr^, A watch. 

Un<? Ziorloge, A clock. 

Un repai", A meal. 

Le dejeuner, Breakfast. 

Le diner, Dinner. 



28 



WORDS AND IDIOMS MOST IN USE. 



FRENCH. ENGLISH. 

Le souper, Supper. 
Du t/ie, Tea. 

Du cafe, Coffee. 

Du lai/, Milk. 

De la crem*, Cream. 
Du beurr*, Butter. 
Du fromag*, Cheese. 
Du sel, Salt. 

Du poivr*, Pepper. 
Delamoutard*, Mustard. 
Du vinaigr*, Vinegar. 
Du pain, Bread. 

De Teau, Water. 
Un garcon, A waiter. 
Un couteau, A kniie. 
'Un* fourchett*, A fork. 
Un* cuiller, A spoon. 
Un* a^siett*, A plate. 
Un verr*, A glass. 
Un* tass*, A cup. 
Un plateau, A trajy. 
La soup*, Soup. 
Du poisson, Fish. 



FRENCH. ENGLISH. 

De la viand*, Meat. 
De^ legume, Vegetables. 
Des iru'USy Fruit. 
Un gateau, A cake. 
Un* bouteill*, A bottle. 
La post*, Post-office. 
Un* lettr*, A letter. 
Le facteur, The postman. 

Timbr*-pOSt*, Postage-stamp. 

Un* plum*, A pen. 



Du papier, 


Paper. 


De l'encr*, 


Ink. 


Un canif, 


A penknife. 


Un Aabit, 


A coat. 


Un mouchoi 


r, A handkerchief. 


Des gan/i", 


Gloves. 


Un* bross*, 


A brush. 


Du savon, 


Soap. 


Un* epingl*, 


A pin. 


Un* aiguill*, 


A needle. 


Du fil, 


Thread. 


Unparaplui* 


, Umbrella. 


Un* ombrell*, A parasol. 



2 9 

WORDS AND IDIOMS MOST IN USE. 



FRENCH. ENGLISH. 

Un Soulier, A shoe. 
Des bott^, Boots. 
Un lavabo, A wash-stand. 
Un tableau, A picture. 
Un eventail, A fan. 
Un ami, A friend. 

\jne ami^, A friend, f. 
Un tailleur, A tailor. 
Un^tailleus^, Dressmaker 

Medeein, Physician (ci=sh). 

Un negocian/, A merchant. 
Peintr^ (ein=in), Painter. 
Un boulanger, A baker. 
Un boucher, A butcher. 
Un epicier, A grocer. 

Un COnfiseur, A confectioner. 

Un ^otel, A hotel. 

Un hotelier, A hotel-keeper. 

Un dentists, A dentist. 
Un pharmacien, a druggist. 

Un musicien, Musician (ci=sh). 

Un acteur, An actor. 
Un^ actric£ ? An actress. 



FRENCH. ENGLISH. 

Un bijoutier, A jeweller. 

Un /^Orloger, A watchmaker. 

Un coiffeur,A hair-dresser 

Un malady, A patient (ti=sbX 

Le coeur (ceu=eu\The heart. 
Le sang-, The blood. 

Les os, The bones. 

La peau, The skin. 

Un diaman/, A diamond. 
Du sucr^, Sugar. 
Un^ boutiq^,A shop. 
Un^ eglis^, A church. 
Un^ a/lumett^, A match. 
JJne boit^, A box. 
Un^ cruch<?, A pitcher. 
Un essui^-main, A towel. 
Un panier, A basket. 
Un rideau, A curtain. 
Un li/, A bed. 

Un^ voitun?, A carriage. 
Un cheval, A horse. 
Un librain?, A bookseller. 
Un livre, A book. 



3° 
WORDS AND IDIOMS MOST IN USE. 



FRENCH. ENGLISH. 

II y a, There is. 

II y a, There are. 

Allons, Let us go. 

A/lez vite, Be quick. 
A/lon* dorur, Nonsense. 
Qu 'y a-t-il ? W/£at is it ? 
N'est-ce pas ? Is it not ? 
Bonn*? chance! Good luck! 
Qui tst-ce ? Who is it ? 
Czst moi, It is I. 
C'est lui, It is he. 

C'est elle, It is she. 
C'e^/ nou.y, [It is] we. 
Cest vous y It is you. 
Ce sont eux, It is they. 
Ce sont elles, [It is] they,f . 
Cert a moi, It is mine. 
C'eit a lui, It is his. 
C'ejt a elk, It is hers. 
Cert a nous, It is ours. 
Cert a vouj, It is yours. 
C'est a eux, It is theirs. 
Cert h elles, It is theirs, f. 



FRENCH. ENGLISH. 

San^ doute, No dou^t. 

.Ten dout*, I dou^t it. 

Je Taim^, I like it. 

Je l'aim^, I love her. 

En verite, Indeed. 

Moi aussi, I too. 

Moi aussi, I also. 

Encore plus, Still more. 

Prenez-en, Take some. 

Do/mez-m'en, Give me some. 

Un de plus, One more. 
Oil ert-il ? W^ere is he? 
Chez lui, At home. 
Chez lui, At his house. 
Je Tespere, I hope so. 
Entronj, Let us go in. 

Excuses-moi, Excuse me. 
Je vous pri*, I beg you. 
Asseyez-vous, Be seated. 
A^seyes-vous, Take a seat. 
Oh est-ce ? W^ere is it ? 
Devines-le, Guess it. 
J'y renonc^ ; I give it up. 



3 T 
WORDS AND IDIOMS MOST IN USE. 



FRENCH. ENGLISH. 

Cherchez-le, Look for it. 
De ce cote, On this side. 
Cest cela, That is it. 
A/proche-sr, Come nearer. 
Ecoutes-moi,Lis/en to me. 
Regarded, Look here. 
£a et la, Here and there. 
£a e/ la, To and fro. 

Tout a Vheure, By and by. 
Tout a cou/, Suddenly. 
Hates-vou.?, Be quick. 



Hatez-vouj", 
Est-ce loin ? 
Combien ? 
Est-ce lon^- ? 
Combien? 
Do^nez-en, 
Combien ? 
Combien? 
Par ici, 
Par la, 
Tou^ droi/, 
La baj, 



Make haste. 
Is it far ? 
How far? 
Is it long? 
How long ? 
Give some. 
How much? 
How many? 
This way. 
That way. 
Strai^t on. 
Yonder, 



FRENCH. ENGLISH. 

Quoi encore? W/iat more? 
Rien d'autr^, Nothing else 
A qui est-ce ? Whose is it? 
Cert a Paul, It is Paul's. 
Je le croi*, I believe it. 

C'est ZSSeZ, It is enough (gh={) . 

Laissez cela, Let it alone. 
A present, Now. 
Je va.is bien, I am well. 
Regarde^-le, Look at it. 
C'est bien, That is well. 
Tout est bien, All right. 
En tout ca^, In any case. 
En tout ca^, At all events. 
J'y consent, I agree to it. 
Dites-&onc ? I sajy ? 



Finisses, 
Fi doiur! 
¥a\tes vit^, 
II le fau/, 
C'est fai/, 
J'ai fini, 



Have done. 
For shame! 
Be quick. 
It must be. 
It is done. 
I have done. 



Que dit-on? W^at is said? 



3 2 
WORDS AND IDIOMS MOST IN USE 

FRENCH 

A/ler a, 
Entrer, 
Sortir, 
Monter, 



ENGLISH. 

To go to. 

To go in. 

To go out. 

To go up. 
Descends, To go down. 
Passer, To go over. 

Continue/-, To go on. 
Traverser, To go throug/i. 
Retourner, To go back. 
Avancer, To go ahead. 
Reculer, To go backward. 
J'ai faim, I am hungry. 
J'ai soif, I am thirsty. 

J'ai so#zmeil, I am sleepy. 
J'ai chaud, I am warm. 
J'ai iroid y I am cold. 
J'ai peur, I am afraid. 
J'ai honte, I am ashamed. 
J'ai envi^, I wish. 
Ce n'est pas, It is not. 
Par ou? W^ich way ? 

Esf-ce ceci ? Is this it ? 
II me fau/, I want. 



FRENCH. ENGLISH. 

Adieu ! Farewell ! 

Aime^-vou^? Do you like? 
Vene^-vouj?Do you come? 
II est tan/, It is late. 
Soye2 exact, Be punctual! 
J'ai raison, I am ri^t. 
J'ai tor/, I am wrong. 

Soit ! Let it be so! 

Ilfai/sombre,It is dark. 
II fai/ nui/, It is ni^t. 
On le di/, Thejy say so. 
Assez iroid. Rather cold. 
Qui est la ? Who is there? 
Cela suffira, That will do. 
En hau/, Up stairs. 



En has, 
En avan/, 
En arrierc, 
Au de^su^, 



Down stairs 
Ahead. 
Backward. 
Above. 



Au de^sou^, Beneath. 

Au loin, Far away. 

Au surplus, Besides. 

Presse, In a hurry. 



33 
WORDS AND IDIOMS MOST IN USE. 



FRENCH. 

On di/, 
On di/, 
On m'a di/, 
Mon Dieu ! 
Je le pens*?, 
II est fache, 



ENGLISH. 

They say. 
It is said. 
I am told. 
Oh dear ! 
I think so. 
He is angry. 



Prenes gard^, Take care. 
Prenez gard^, Look out. 
II imports, It matters. 



N'import?, 
N'import^, 
Au plu j-, 
Au moin^, 
Au lieu de, 
A Vheuve, 



No matter. 
Never mind. 
At most. 
At least. 
Instead of. 
By the hour. 



A la course, By the drive. 
Le void, Here it is. 

Here he is. 

Here she is. 
Here they are. 

On purpose. 

It thunders. 



Le voici, 
La voici, 
Lei* voici, 
A dessein, 
II tonn^, 
II eclairs, 



It li^/ztens. 



FRENCH. 

Pleut-il ? 
II grek, 
A propoj-, 



ENGLISH. 

Does it rain? 
It hails. 
By the way. 



Quel conte, W^atastory! 
II se peu/, It may be. 



En outre, 
Du rest^, 
Pluto/, 
PIuj- to/, 
PIuj- tanz 7 , 
Tanto/, 
Bien stir, 



Besides. 
Besides. 
Rather. 
Sooner. 
Later on. 
By and by. 
Just so. 



Au secour* ! Help ! 
Taisez-vouj, Be silent. 
Un a un, One by one. 



Me voici, 
Faito" voir, 
En gro^, 
En detail, 
Cest cher, 



Here I am. 

Show it. 
Wholesale. 
Retail. 
It is dear. 



Vis a vis de, Opposite. 
Revene^, Come back. 
Revene^, Call again. 



34 

UN COUP D'CEIL SUR LA GRAMMAIRE. 

A GLANCE A T GRAMMAR. 



Grammar teaches how to 

NOM. 1 NOUN. 

Un lion, A lion. 

Deujc lion*, 2 Two lions 

ARTICLED ARTICLE. 

Le, m.4 

La, f. \ the 

Le^, pi. 

Du,s 

Dela, 

Dex, 6 

Au,7 

Ala, 

Aii*, 8 

ADJECTIF.9 ADJECTIVE. 

Joli, ) 



" of the, some. 



► to the, at the. 



► My. 



Joli*r, xo ) 



Pretty. 



speak and write correctly. 

Un, A, an. 

Un*, A, an. 

Mon, m. 

Ma, f. 

Mes, pi. 

Ton, Ta, Te^— Thy. 

Son, Sa, Se^ — His, her 

Notr*, s. 

No*, pi. 

Votr*, s. 

Vos, pi. 

Leur, s. ) 

Leur^,pl. ) 

Ce, m. 

Cett*, f. 

Ces, pi. These. 



Our. 
Your. 



This. 



I. Word meaning a person or a thing. — 2. The plural 
is formed with an s. — 3. Word added to a noun to specify 
it. — 4. m. means masculine ; f. feminine ; pi. plural ; 
s. singular. — 5. Du stands for de le. — 6. Des stands for 
de les, of the. — 7. Au stands for a le, to the. — 8. Aux for 
A les, to the (plural). — 9. Word accompanying a noun. — 
10. Feminine of an adjective is formed by adding e. 



35 
UN COUP D'CEIL SUR LA GRAMMAIRE. 

A GLANCE A T GRAMMAR. 



PRONOM, 1 


PRONOUN. 


Le votr<?, 


Yours. 


Je, 


I. 


Le leur, 


Theirs. 


Moi, me, 


Me. 


Ceci, 


This. 


Tu, toi, te^ 


Thou. 


Cela, 


That. 


11, elk, 


He, she. 


Celui-ci, 


This one. 


Le, la, 


Him, her, it. 


Celui-la, 


That one. 


Nouj-, 


We, us. 


Qui, 


Who, w/iich 


Vouy. 


You. 


Que, ^hom, w/^ich. 


lis, elles, 


Thejj'. 


Don/, Of wh 


om,of w/zich 


JLux, m. 


Them. 


Quoi, 


WAat. 


El\es,f. 


Them. 


Leq^el, 


W/Hch. 


hes, 


Them. 


Duq^el, 


Of w^ich. 


Lui, 


To him, to her. 


Auq^el, 


To wMch. 


Leur, 


To them. 


PROPOSITION. 2 


Soi, se, One's self, itself. 


A, de, 


To, of. 


En, 


Of it, some. 


CONJONCTION.3 


Y, 


To it. 


E/, msiis, 


And, but. 


Le mien, 


Mine. 


INTERJECTIONS 


Le tien, 


Thine. 


Helas! Bravo! Alas! Bravo\ 


Le sien, 


His, hers. 


ADVERBE.5 


Le not iy, 


Ours. 


Ici, oui, pas, 


Here, yes, not. 



i. A pronoun is a word standing for a noun. — 2. Word 
placed between two words, the second of which completes 
the first. — 3. Word used to join, to connect words, phrases or 
sentences. — 4. Word which serves to express a sudden 
emotion of the mind. — 5. Word adding an idea of time, 
place, manner or quality ; it is generally added to a verb. 



36 



VERBES: 1 AVOIR, ETRE, DONNER. 



AVOIR. 

PRESENT. 

J'ai (ai=e), 

Tu as, 

II a, 2 

Nous avON^, We 

Vous avEZ, You 

lis on/. 3 They > 



TO HAVE. 

PRESENT. 

I have. 
Thou hast. 
He has. 



> 



PASSE. PAST. 

J'ai iHJ, etc. I have had, etc. 



FUTUR. FUTURE 

J'auRAI, I will 
Tu-RAS, Thou wilt 
II— RA, He will 
N*— RONS, We will 
V.s— REZ, You will 

IIS— RON T, They will 






IMPERATIF. IMPERATIVE. 

Ai*, Have (thou). 

AyON*S, Let us have. 

AyEZ, Have (you). 



ETRE. TO BE. 

PRESENT. PRESENT. 

Je suLy, I am. 

Tue^, (e=e), Thou art. 
II est (e=e), He is. 
N. Somm^, We are. 
V. etes } You are. 

Us son/, Thejy are. 



PASSE. PAST. 

J ai iir 1 xL, etc, i have been, *»tc. 



FUTUR. FUTURE. 

Je seRAI, I will 

Tu RA/5*, Thou wilt 

II — RA, He will 
N.— RON^We will 
V.— REZ, You will 

IIS— RON T, They will 



^ 



IMPERATIF. IMPERATIVE. 

Sou, Be (thou). 

SoyONS, Let us be. 

SoyEZ, Be (you). 



I. A verb is a word that signifies to be, to act, or to be acted 
upon. — 2. or : elle a, she has. — 3. or : elles ont, they 
have (f.) — N. stands for Nous,we. — V. stands for Vous, you. 



37 
VERBES: AVOIR, ETRE, DONNER. 



CONNER. TO GIVE. 

PRESENT. PRESENT. 

Je donnE, I give. 

Tu — ES>- Thou givest, 

II — E, He gives. 
N. -ON5,We, 1 . 

V. — EZ, You, \ > 



ILS—E2VT,They J 



bJO 



PASSE. PAST, 

j'ai do/me, etc. I have given. 



FUTUR. FUTURE. 

Je doTzneRAI, I will, 



Tu 


RA.S,{ wi ] t 


11 


RA, He will 


N.4 


— RON^-|^ 


V.5 


REZ, You will 


IL5 


— ron r{ *2J7 



bo 



IMPERATIF. IMPERATIVE. 

Donn*?, Give (thou). 

DonnONS, Let us give. 

Do;zNEZ, Give (you). 



FOUR WAYS OF USING 
THE VERBS. 

AFFIRMATIVELY. 

J'ai. Je sim. Je donn<?. 
I have. lam. I give. 
NEGATIVELY. 

Je n'ai pay. Je ne suw pa?. 

Je ne donn* pa*. 
/ have not. I am not. 

I do not give. 

INTERROGATIVELY. 

Ai-j^? Suix-jV? Donne-j<? ? 
Have I? Am I? Give I? 
Or with EST-CE Q UE, do ? 

Est-ce que je donn^ asse.?? 
Do I give enough ? (gh=f). 

INTERROGATIVELY AND 
NEGATIVELY. 

N'ai-j<? pay ? Have I not ? 
Ne s\i\s-)e pas ? Am I not ? 
Ne donne-j<? paj ? Give I not ? 
Or with EST-CE Q UE, do ? 
Est-ce que je n'ai pa^ ? 
E^/-c^ que je ne sub pa^ ? 
Est-ce que je ne donn<? pa^? 



* Et, thou shall, he shall, you shall, they shall, si e'est un 
futur de commandement. 

Note —The preceding four pages are only intended to give the pupil a 
general idea of the French grammar, which will be explained by the teacher 
to the pupil as they go along. A list of the French verbs, with prepositions 
governing each of them, will be found at the end of this book. 



3$ 



2me PARTIE. 

ENSEIGNEMENT PANORAMIQUE. 



LE NOUVEL AN. 

Chere mere, nous vous souhaitons une bonne et 
heureuse annee. — Merci, mes chers enfants. Venez ici 
que je vous embrasse. Marie, que desires-tu pour 
tes etrennes? — La continuation de ton amour. — Et 
toi, Henri ? — La continuation de ton bonheur. — Vous 
etes de bons enfants. . Je vous menage une petite 
surprise. — Oh! qu'est-ce que c'est ? Dis-le-nous bien 
vite. — Un petit cadeau de nouvel an, a la fois amusant 
et utile. — Nous en serons doublement heureux. 

Connaissez-vous le Panorama-Instructeur du pro- 
fesseur Berger? — Non, dis-nous ce que c'est. — Ce 
panorama, destine a l'enseignement, a ete invente par 
votre grand-pere, en 1882. II consiste en une boite 
de 13 centimetres de hauteur sur 10 de largeur et 8 
de profondeur. Les deux cotes s'ouvrent pour laisser 
sortir deux rouleaux qui font passer, sous les 
yeux de l'eleve, toute une serie de gravures qui 
forment des sujets de conversation variant a l'infini. 
C'est une espece de kindergarten, mais d'un ordre 
plus eleve, toutes les matieres de Tenseignement, 
dans la pensee de Tauteur, devant y figurer. 

Le panorama se monte sur un trepied qui se replie 



39 

2d PART. 

OBJECT TEACHING. 



THE NEW YEAR. 

Dear mother, we wish you a good and a happy 
new year. — Thank you, dear children. Come here 
that I may kiss you. Mary, what do you wish for 
your new year's present? — Your everlasting love. — 
And you, Henry ? — Your everlasting happiness. — You 
are good children. I have a little surprise for you. — 
Oh! what is it ? Tell it to us very quickly. — A little 
new year's present amusing and useful at the same 
time. — We will be doubly happy for it. 

Do you know Professor Berger's Panoramic-In- 
structor ? — No, tell us what it is. — This Panorama, 
made for Instruction, has been invented by your 
grandfather in 1882. It consists of a box of 13 centi- 
meters in height, by 10 in width and 8 in depth. 
The two sides open to allow two rollers to pass which 
present to the pupil's eye quite a large series of 
engravings affording topics of conversation vary- 
ing continually. It is a kind of kindergarten, 
but of a higher order, all the subjects pertaining to 
instruction, according to the author's ideas, having a 
place in it. 

The panorama is mounted on a tripod which can 



46 
k l'mterieur, de meme que les rouleaux, ce qui en fait 
une boite qu'on peut facilement porter a la main. 
Ces rouleaux peuvent aussi etre fixes au mur, et, au 
moyen d'un petit mecanisme, les gravures se 
deroulent de haut en bas ou de bas en haut, au lieu de 
gauche &droite et de droite a gauche, comme dans le 
panorama mobile. — 

Oh ! Henri, quel plaisir nous aurons a etudier de 
cette fagon! — Nous serons bientot des savants. 

Maintenant, mes enfants, nous allons nous mettre 
au travail. Henri, voyez-vous cette petite boite, la, 
dans le coin? allez la chercher. — La voici. — Posez- 
la sur la table. C'est le panorama en question. Je 
vais vous montrer comment il faut le monter. — Puis- 
je vous aider, maman ? — Voila ! c'est fait. Vous 
voyez que ce n'est pas difficile a appreter. Prenez 
des chaises. Asseyez-vous, Tun a cote de l'autre, en 
face du panorama. 

Qu'est-ce que c'est que cette petite manivelle, sous 
les rouleaux ? — Elle sert a les faire tourner et a faire 
ainsi apparaitre les gravures, les unes apres les 
autres. — C'est assez ingenieux. — Oh! maman, laissez- 
moi un peu tourner la manivelle. — Non, non, vous 
devez ecouter les explications du professeur et 
repondre a ses questions. Y etes-vous ? — Oui, nous 
ecoutons. 

Je commence. Voici d'abord l'alphabet. — Oh ! 
maman, c'est une vieille connaissance. — Henri, n'inter- 
rompez pas, ce n'est pas poli. — Je ne le ferai plus. — 



4* 

be folded inside, as well as the rollers, and thus forms 
a box which can be easily carried by the hand. 
These rollers can also be fixed on the wall and, b]' 
means of a simple mechanism, the engravings unroll 
themselves from top to bottom or from bottom to 
top, instead of from left to right and from right to 
left, as it is the case in the movable panorama. — 

Oh ! Henry, what pleasure we shall have by study- 
ing that way ! — We will soon be scholars. 

Now, children, we are going to begin to work- 
Henry, do you see that little box there, in the corner? 
Go and fetch it. — Here it is. — Place it on the table. It is 
the Panorama spoken of. I am going to show you how 
to mount it. — Can I help you, mamma ? — There, it is 
done. You see that it is not difficult to get it ready- 
Take chairs. Sit down by each other, in front of the 
Panorama. 

What is that little crank under the rollers ? — 
It is used to turn them and therefore make the 
engravings appear one after the other. — It is 
rather ingenious. — Mamma, let me, please, turn the 
crank a little. — No, no, you must listen to the explan- 
ations of the Professor and answer his questions. 
Are you ready ? — Yes, we are listening. 

I begin. Here is first the alphabet. — Oh! mamma, it 
is an old acquaintance. — Henry, do not interrupt, it is 
not polite.— I will not do it again. — This alphabet 
is followed by a little chart containing ten 



4* 

Cet alphabet est suivi d'un petit tableau contenant 
dix mots donnant les sons qui forment la base de la 
prononciation frangaise. C'est ainsi que Tun de ces 
mots, celui de popularity contient, a lui seul, les sons 
des cinq voyelles a, e, i, <?, u. Cette cle de prononci- 
ation* ainsi qu'une cle du meme genre pour la pro- 
nonciation de l'anglais, se trouvent dans la "Methode 
F. Berger." 

Maman, je croyais que le mot cle s'ecrivait avec 
un/ — L'Academie admet les deux orthographes. 

Je continue. Les pages suivantes nous montrent les 
caracteres d'ecriture et d'imprimerie des langues 
anciennes et modernes les plus en usage, et Talphabet 
des sourds-muets. 

Viennent maintenant des nombres, des fractions, 
le millesime, des figures de geometrie, les mesures 
francaises, les poids et les monnaies. 

Henri, voulez-vous nommer tout cela ? Com- 
mencez par les nombres. — Un, deux, etc., cent, mille, 
million, milliard. — Continuez avec les fractions. — Un 
demi, un tiers, un quart, un cinquieme. — Quel est le 
millesime indique la? — Mil huit cent quatre-vingt- 
cinq. 

Quelles sont ces figures de geometrie ? — Un cercle, 
un demi-cercle, un carre, un triangle, un angle droit, 
un angle aigu, un angle obtus, une ligne horizontale, 
une ligne verticale, des lignes paralleles. — 

Marie, nommez ces couleurs. — Rouge, blanc,noir, 



43 
words giving the sounds which form the basis of the 

French pronunciation. Thus one of these words, 
popularity contains in itself alone, the sounds of the 
five vowels a, e, i, o, u. This key for the pronunci- 
ation is found in " F. Berger's Method," also a key of 
the same kind for the English pronunciation. 

Mamma, I thought that the word " cle " was written 
with an/. — The Academy authorizes both ways of 
spelling. 

I go on. The following pages show us the differ- 
ent characters in writing and in printing ancient and 
modern languages most in use, and the alphabet for 
the deaf and dumb. 

Now come numbers, fractions, the millisime, 
figures of geometry, French measures, weights and 
coins. 

Henry, will you name all that ? Begin with 
numbers. — One, two, etc., one hundred, one thousand, 
one million, one billion. — Go on with fractions. — One- 
half, one-third, one-quarter, one-fifth. — What is the 
date marked there? — One thousand eight hundred 
and eighty-five. 

What are these figures of geometry ? — A circle, a 
half-circle, a square, a triangle, a right angle, an 
acute angle, an obtuse angle, an horizontal line, a 
vertical line and parallel lines. — 

Mary, name these colors. — Red, white, black. 



44 
orange, brun, gris, jaune, lilas, rose, bleu, vert, 
violet. 

Quelles fleurs voyez-vous la? — II y a des roses, des 
violettes, des pensees, des oeillets, du reseda, des mar- 
guerites, du muguet, des myosotis. — 

Nous arrivons maintenant a des gravures. 

MARIE BERGER. 

Henri, que voyez-vous la? — Une jolie petite fille. — 
Quel est son nom ? — Marie Berger. — Quels cheveux 
a-t-elle ? — Des cheveux blonds, boucles, qui lui re- 
tombent sur les epaules. — Quelle robe porte-t-elle ? 
Une robe de velours noir. — Comment est-elle garnie ? 
— De dentelles et de noeuds de ruban. — Que tient-elle 
dans la main droite ? — Un bouquet. — Ou est sa main 
gauche ? — Sur le bouton de la porte. — Qu'indique-t- 
elle? — Qu'elle va chez sa grand'mere. — Pourquoi ? — 
Pour lui offrir des fleurs a l'occasion de sa fete. 

Henri, voulez-vous faire le professeur, a votre tour, 
et m'expliquer cette gravure ? 

MARIE BERGER. 

Je vois la une jolie petite fille. Son nom est Marie 
Berger. Elle a des cheveux blonds, boucles, qui lui retom- 
bent sur les epaules. Elle porte une robe de velours noir, 
garnie de dentelles et de nceuds de ruban. Elle tient un 
bouquet dans la main droite. Sa main gauche, posee sur 
le bouton de la porte, indique qu'elle va chez sa grand'- 
mere dont c'est l'anniversaire du jour de la naissance et a 
qui elle veut offrir des fleurs. 



45 
orange, brown, grey, yellow, lilac, rose-color, blue 
green, violet. 

What flowers do you see there ? There are roses, 
violets, pansies, pinks, mignonette, daisies, lilies of 
the valley, forget me not. 

We now arrive at engravings. 

MARY BERGER. 

Henry, what do you see there ? — A pretty little 
girl.— What is her name ? — Mary Berger. — What kind 
of hair has she ? — Blond, curled hair falling on her 
shoulders. — What dress does she wear ? — A black 
velvet dress. — How is it trimmed ? — With lace and 
ribbon bows. — What does she hold in her right hand? 
— A bouquet. — Where is her left hand ? — On the knob 
of the door. — What does it indicate ? — That she goes 
to her grandmother's. — Why? — To offer her some 
flowers on account of her birth-day. 

Henry, will you be the professor, in your turn, and 
explain this engraving ? 

MARY BERGER. 

I see there a pretty little girl. Her name is Mary Berger. 
She has blond, curled hair falling on her shoulders. She 
wears a black velvet dress trimmed with lace and ribbon 
bows. She holds a bouquet in her right hand. Her left 
hand, placed en the knob of the door, indicates that she 
goes to her grandmother's, whose birth-day it is, and to 
whom she wishes to offer flowers. 



4 6 

Marie, nommez-moi quelques parties du corps de 
cette petite personne. — La tete, les cheveux, le front, 
les sourcils, les cils, les paupieres, les yeux, les tempes, 
les oreilles, le nez, la bouche, les levres, les dents, les 
gencives, la langue, les joues, le menton, le cou, la 
gorge, les epaules, le bras, le coude, le poignet, la 
main, les doigts, le pouce, l'index, les ongles, les 
pieds, le cou-de-pied, la cheville, les orteils. 

— XX — 

INNOCENCE. 

Marie, que voyons-nous ici ? — Une autre petite fille. 
— Quel air a-t-elle ? — Elle a l'air candide. — Oil est-elle 
assise ? — A l'ombre d'un arbre. Quel bonnet a-t-elle ? 
— Elle a un bonnet appele, en francais, cornette. — 
Comment sont ses cheveux ? — Ses cheveux blonds et 
boucles lui retombent sur le cou. — Quelle robe porte- 
t-elle? — Une robe de mousseline blanche. — Quelle est 
la forme du corsage ? — Decollete. — Comment sont les 
manches? — Courtes. — A-t-elle une ceinture? Elle a 
une ceinture de ruban autour de la taille. — Comment 
tient-elle les mains ? — Croisees sur son giron. — A quoi 
ressemblent ses doigts ? — A de petits oiseaux dans 
leur nid. 

Tres bien, Marie; a votre tour a f aire le professeur 
et a m'expliquer cette gravure. 

INNOCENCE. 
Voici une autre petite fille a l'air candide. Elle est 
assise a l'ombre d'un arbre. Elle a un bonnet appele, en 




INNOCENCE 



47 
Mary, name a few parts of the body of this little 
person. — The head, the hair, the forehead, the eye- 
brows, the eye-lashes, the eye-lids, the eyes, the 
temples, the ears, the nose, the mouth, the lips, the 
teeth, the gums, the tongue, the cheeks, the chin, 
the neck, the throat, the shoulders, the arm, the 
elbow, the wrist, the hand, the fingers, the thumb, the 
index, the nails, the feet, the instep, the ankle, the toes. 

tt 

INNOCENCE. 

Mary, what do we see here ? — Another little girl. — 
How does she look ? — She looks innocent. — Where is 
she seated ?— In the shade of a tree. — What bonnet 
has she ? — She has a bonnet called in French 
" Cornette." — How is her hair? — Her blond, 
curly hair fall on her neck. — What dress does 
she wear ? — A dress of white muslin. — What is 
the shape of the bodice ? — Low-necked. — How are 
the sleeves? — Short. — Has she a sash? — She has 
a ribbon-sash around her waist. — How does she 
hold her hands? — Crossed on her lap. — What 
do the fingers look like? — As little birds in their 
nest. 

Very well, Mary ; it is your turn now to be the 
Professor and to explain this engraving. 

INNOCENCE. 
Here is another little girl with a candid look. She is 
seated in the shade of a tree. She has a bonnet called in 



4 8 

frangais, cornette. Ses cheveux blonds et boucles lui retom- 
bent sur le cou. Elle porte une robe de mousseline blanche, 
decolletee, a manches courtes, et une ceinture de ruban 
autour de la taille. Elle tient les mains croisees sur son 
giron, et, a une certaine distance, les doigts ressemblent a 
de petits oiseaux dans leur nid. 

A la bonne heure, Marie ; je suis contente de vous. 

— n — 



SCENE D'HIVER. 
Dans quelle saison sommes-nous ici ? — En hiver. — 
Comment voyez-vous cela? — Par la neige qui couvre 
la terre et par les arbres qui sont depouilles de leurs 
feuilles. — Que voit-on dans cette gravure ? Une mere. 
— Avec qui ? — Avec ses enfants. — Combien y a-t-il 
d'enfants? — Trois : une petite fille et deux garcons. 
— A qui ressemble la petite fille ? — A sa mere. — Que 
voyons-nous sur les charmantes petites figures de 
ces enfants? — La joie. — Sont - ils heureux ? — Oui. — 
Pourquoi ? — Ah! Ils vont avoir une partie de 
traineau. — Qui a fait ce traineau ? — Les domestiques 
de la maison. — Avec quoi ? — Avec le tronc d'un vieil 
arbre.— Qui est assis sur le traineau ? — La petite fille 
et le plus jeune des garcons. — Que tient-il a. la main ? 
— Une petite branche de houx. — Ou se tient Taine des 
garcons? — Debout, a droite. — Qu'a-t-il a la main? 
Une corde. — Qu'est-ce que cela indique ? — Qu'il est le 
conducteur et qu'il va conduire la petite famille. 



49 

French " Cornette." Her blond and curled hair fall on 

her neck. She wears a white muslin dress, low-necked, 
with short sleeves and a ribbon sash around her waist. She 
keeps her hands crossed on her lap, and, from a distance, 
the fingers look as little birds in their nest. 

Very well, indeed, Mary ; I am satisfied with you. 

— it— 

WINTER SCENE. 

What season is it now ? — Winter. —How do 
you see it ? — By the snow that covers the ground and 
by the trees which are stripped of their leaves. 
What does one see in this picture ? — A mother. — 
With whom ? — With her children. — How many chil- 
dren are there ? — Three : a little girl and two boys. — 
Whom does the little girl resemble ? — Her mother. — 
What do we see on the charming little faces of these 
children ?— Joy. — Are they happy ? — Yes. — Why ? — 
Ah ! they are going to have a sleigh-drive. — Who 
made this sleigh ? — The servants of the house. — With 
what ? — With the trunk of an old tree. — Who is 
seated upon the sleigh ? — The little girl and the 
younger boy. — What does he hold in his hand ? — A 
small branch of holly-tree. — Where does the older 
boy stand ? — He is standing to the right. — What does 
he hold in his hand ? — A rope. — What does that indi- 
cate ? — -That he is the driver, and that he is going to 
drive the little family. 



5° 

Qu'apergoit-on a gauche du traineau ? — Un petit 
chien — .Que fait-il ? — II aboie. — Que montre-t-il par 
ses jappements ? — Que lui aussi prend part a la fete. — 

Qui est derriere le traineau ? — La mere. — Oil a-t-elle 
les mains ? Posees sur les epaules des enfants. — 
Pourquoi ? — Pour les empecher de tomber. — Que va- 
t-elle faire ? Elle va pousser un peu le traineau. 

Eh bien ! qui veut faire le professeur et expliquer 
cette gravure ? Vous, Henri ? — (Henri, a part.) Ce 
n'est pas facile, (haut.) Je crois que c'est le tour de 
Marie ; elle ne serait pas contente si je la privais d'une 
si belle occasion de se distinguer. — Merci, Henri, a 
charge de revanche. Je vais essayer, maman. 

SCENE D'HIVER. 
Nous sommes en hiver. La neige couvre la terre et 
les arbres sont depouilles de leurs feuilles. Voila une mere 
avec ses trois enfants : une petite fille et deux gargons. La 
petite fille ressemble beaucoup a sa mere. Nous voyons la 
joie repandue sur les charmantes petites figures de ces en- 
fants. lis sont heureux. Ah ! ils vont avoir une partie de 
traineau. Les domestiques de la maison ont fait un 
traineau avec le tronc d'un vieil arbre. Sur le traineau sont 
assis la petite fille et le plus jeune des gargons, qui tient 
une branche de houx dans ses mains. L'aine se tient 
debout, a droite, une corde a la main. II est le conducteur 
et va conduire la petite famille. A gauche du traineau, on 




WINTER SCENE 



5 1 

What does one perceive to the left of the sleigh ? 
A little dog. — What is he doing? — He barks. — What 
does he show by his yelping? — That he also takes 
his share of pleasure. — Who is behind the sleigh ? 
The mother. — Where are her hands ? — Placed on the 
shoulders of the children. — What for? — To prevent 
them from falling. — What is she going to do ? — She 
is going to push the sleigh a little. 

Well ; who wishes to be the teacher and explain 
this picture? — You, Henry? (Henry, aside) That is 
not easy. (Aloud) I think it is Mary's turn; she would 
not be satisfied should I deprive her of so fine an 
opportunity for distinguishing herself. — Thanks, 
Henry, one good turn deserves another. I am going 
to try, mamma. 

WINTER SCENE. 
It is now winter. The snow covers the ground, and 
the trees are stripped of their leaves. There is a mother 
with her three children : a little girl and two boys. The 
little girl resembles her mother very much. We see the 
joy beaming on the sweet little faces of these children. 
They are happy. Ah ! they are going to have a sleigh- 
party. The servants got up a sleigh with the trunk of an 
old tree. Upon the sleigh are seated the little girl and the 
younger boy who holds a small branch of holly in his 
hands. The elder stands erect, to the right, with a rope in 
his hand. He is the conductor, and he is going to drive the 
little family. To the left of the sleigh one perceives a little 



5 2 
apergoit un petit chien qui aboie et qui montre par ses 

jappements que lui aussi prend part a la fete. Derriere le 
traineau est la mere. Elle a les mains posees sur les epaules 
des enfants pour les empecher de tomber, et, en meme 
temps, elle va pousser un peu le traineau. 

Marie, mes plus chaudes felicitations ! — Vraiment ! 
Henri ? mais tu ne m'y reprendras plus. 

— n — 

MOZART ET MEYERBEER. 

Quel est ce portrait? — C'est le portrait de Mozart 
quand il etait jeune. — Qui est Mozart ? — Un grand 
compositeur de musique allemand. — Quand est-il ne ? 
— En 1756. — Quand est-il mort ? — En 1791. — Quelles 
sont ses principales oeuvres ? — Don Juan, les Noces 
de Figaro, la Flute enchantee et un admirable 
Requiem qui fut son chant du cygne. 

Voulez-vous me faire la description de sa personne? 

II parait etre age de dix-huit ans. — Quel costume 
porte-t-il ? — Le costume de l'epoque : un habit de 
velours avec boutons de metal et de larges parements; 
une culotte, des bas de soie et des souliers a boucles 
d'argent. — Que tient-il de la main droite ? — Un archet. 
— Et de la main gauche ? — Son violon qu'il est en 
train d'accorder. 

Henri, expliquez-nous cette gravure. 

MOZART ET MEYERBEER. 
Ceci est le portrait de Mozart quand il etait jeune. 




174J*3yXAl/l 



53 
dog that is barking, and thus shows by his yelping that he 

also takes his share in the play. Behind the sleigh is the 
mother. She has her hands placed on the shoulders of the 
children, to prevent them from falling, and, at the same 
time, she is going to push the sleigh a little. 

Mary, my warmest congratulations ! — Is it, Henry? 
but you will not catch me any more. 

tt 

MOZART AND MEYERBEER. 

Whose portrait is this ? — It is the portrait of 
Mozart when he was young. — Who is Mozart? — A 
great German composer of music. — When was he 
born? — In 1756. — When did he die ? — In 1791. — What 
are his principal works ? — Don Juan, the Wedding of 
Figaro, the Enchanted Flute, and an admirable 
Requiem which has been his Song of the Swan. 

Will you give me the description of his person ? 

He seems to be eighteen years old. — What cos- 
tume does he wear ? — The costume of the time : a 
velvet coat, with metal buttons and large cuffs ; knee- 
breeches, silk-stockings and silver buckled shoes. — 
What does he hold in his right hand ? — A bow. — And 
in his left hand ? — His violin which he is trying to 
tune. 

Henry, explain to us this engraving. 

MOZART AND MEYERBEER. 
This is the portrait of Mozart when he was young. 



54 
Mozart est un grand compositeur de musique allemand. 11 
naquit en 1756 et rnourut en 1791. Ses principales oeuvres 
sont : Don Juan, les Noces de Figaro, la Flute enchantee 
et un admirable Requiem qui fut son chant du cygne. 

Je vais vous faire la description de sa personne. II 
parait avoir dix-huit ans. II porte le costume de l'epoque: 
un habit de velours avec boutons de metal et de larges pare- 
ments ; une culotte, des bas de soie et des souliers a boucles 
d'argent. II tient un archet de la main droite, et, de la main 
gauche, son violon qu'il est en train d'accorder. 

Quel autre grand compositeur est ne l'annee de la 
mort de Mozart, c'est-a-dire en 1794? — Meyerbeer. — 
Meyerbeer a-t-il compose des chefs-d'oeuvre? — Oui, 
un grand nombre. — Pouvez-vous en indiquer quel- 
ques-uns? — L'Africaine, l'Etoile du Nord, les Hugue- 
nots, le Prophete et Robert le Diable. — Ou est ne 
Meyerbeer? — A Berlin. — Ou est-il mort? — A Paris. — 
Quand ? — II n'y a pas longtemps. — En quelle annee ? — 
En 1864. 

UN ACCIDENT. 

Que reproduit cette gravure ? — Un tableau admis a 
TExposition des Beaux-Arts a Paris. — Ou se tient, 
chaque annee, cette Exposition ou " Salon " ? — Au 
palais de l'lndustrie. — Ou est-il situe ? — Dans l'Avenue 
des Champs-Elysees. — 

Quel est le sujet de ce tableau? — Un accident. — 
Qu'y voyons-nous? — Un petit gargon blesse a la 
main. — Que fait-il en ce moment ? — II tend la main 



55 
Mozart is a great German composer of music. He was born 

in 1756 and he died in 1791. His principal works are : Don 

Juan, the Wedding of Figaro, the Enchanted Flute, and an 

admirable Requiem which was his Song of the Swan. 

I am going to give you the description of his person. He 
seems to be eighteen years old. He wears the costume of 
the time : a velvet coat with metal buttons and large cuffs ; 
knee-breeches, silk stockings and silver-buckled shoes. He 
holds a bow in his right hand, and in his left his violin 
which he is trying to tune. 

What other great composer was born in the year 
of Mozart's death, that is to say in 1794 ? — Meyerbeer. 
— Did Meyerbeer compose masterpieces ? — Yes ; a 
great number. — Can you mention a few of them ? — 
The African, the Star of the North, the Huguenots, 
the Prophet, and Robert the Devil. — Where was 
Meyerbeer born? — In Berlin. — Where did he die? — 
In Paris. — When? — Not long ago. — In what year?— 7 
In 1864. 

AN ACCIDENT. 

What does this engraving represent ? — A picture 
accepted at the Exhibition of Fine Arts in Paris. — 
Where is this Exhibition or " Salon " held every 
year? — At the Palais de l'lndustrie. — -Where is it 
located ? — In the Avenue of the "Champs-Elysees." 

What is the subject of this picture? — An accident. 
— What do we see in it? — A little boy wounded in 
the hand. — What is he doing just now ? — He holds 



56 

au docteur qui est assis devant lui. — Que vient 
de faire le medecin ? — II vient de laver la plaie. — Que 
fait-il maintenant ? — II met un bandage sur la bles- 
sure. — 

Qu'y a-t-il sur le genou gauche du docteur? — Une 
bande de linge et une trousse avec des instruments de 
chirurgie. — Qu'y a-t-il a gauche sur un banc ? — Une 
cuvette contenant de l'eau et un morceau de linge qui 
ont servi pour l'operation. — 

Y a-t-il encore d'autres personnes dans la chambre ? 
— Oui, cinq autres personnes. — Qui ? — une femme, 
trois hommes et un autre petit gargon dont on aper- 
£ oit seulement la tete. — Que font toutes ces personnes ? 
— Elles suivent avec interet ce que fait le docteur. — 
La vieille femme est-elle belle ? — Non, mais elle est 
bonne, ce qui vaut beaucoup mieux. — Que tient-elle 
de la main droite ? — Une paire de ciseaux. — A quoi 
ont-ils servi ? — A decouper les bandes de linge pour 
notre jeune malade. — 

A votre tour Marie.— 

UN ACCIDENT. 

Cette gravure est la reproduction d'un tableau admis a 
l'Exposition des Beaux-Arts, a Paris. Cette exposition ou 
" Salon " est tenue annuellement au Palais de Tlndustrie 
situe dans TAvenue des Champs-Elysees. 

Le sujet de ce tableau est "Un Accident." Nous y 
voyons un petit gargon blesse a la main. En ce moment, il 
donne la main au docteur qui est assis devant lui. Le mede- 



57 
out nis hand to the doctor who is seated before him. 
— What has the physician just done ? — He has just 
washed the sore. — What is he doing now? — He puts 
a bandage on the wound. — 

What is there on the doctor's left knee ? — A band 
of linen and a case with his surgical instruments. 
— What is there, to the left, on a bench ? — A basin 
containing some water and a piece of linen which 
have been used for the operation. — 

Are there other persons in the room ? — Yes, five 
other persons. — Who are they ? — A woman, three 
men, and another little boy whose head you can only 
perceive. — What are all these persons doing ? — They 
curiously watch what the doctor is doing. — Is the 
old woman beautiful ? — No ; but she is good, and 
that is a great deal better. — What does she hold in 
her right hand ? — A pair of scissors. — What have they 
been used for ? — To cut up the bands of linen for our 
young patient. — 

It is your turn, Mary. — 

AN ACCIDENT. 

This engraving is the reproduction of a picture accepted 
at the Exhibition of Fine Arts in Paris. This Exhibition 
or " Salon " is held annually at the Palais de l'lndustrie, 
located in the avenue of the " Champs-filysees." 

The subject of this picture is, "An Accident." We see 
in it a little boy wounded in the hand. Just now he holds 
out his hand to the doctor who is seated before him. The 



58 

cin vient de laver fa plaie et maintenant il met tin bandage 
sur la blessure. 

Sur le genou gauche da docteur sont une bande de linge 
et une trousse avec ses instruments de chirurgie. A gauche, 
sur un banc, est une cuvette contenant de l'eau et un mor- 
ceau de linge qui ont servi pour l'operation. 

II y a encore dans la chambre cinq autres personnes : une 
femme, trois hommes et un autre petit gargon dont on aper- 
goit seulement la tete. Tous suivent avec interet ce que 
fait le docteur. La vieille femme n'est pas belle, mais elle 
est bonne, ce qui vaut beaucoup mieux. Elle tient dans la 
main droite une paire de ciseaux avec lesquels elle a de- 
coupe des bandes de linge pour notre jeune malade. 

— it— 

VEHICULES. 

Henri, citez-moi les noms des voitures et v^hicules 
dans cette gravure. — 

II y a un traineau, un velocipede, un tilbury, un 
cabriolet, un cab, un coupe, un phaeton, un dog-cart, 
un break, une victoria, un landeau, une caleche, un 
omnibus, une voiture de tramway, un - corbillard, une 
brouette, un vagonnet, un camion, un tombereau, une 
charette, un chariot, un fourgon, une locomotive, un 
tender, un wagon. 

CHIENS. 

Voici une exposition de chiens. 

Henri, nommez-moi quelques especes de chiens. — 

II y a les chiens de garde, de berger, de chasse, de 



59 
doctor has just washed the sore and he is now putting a 
bandage on the wound. 

Upon the doctor's left knee are a band of linen and 
a case with his surgical instruments. To the left, upon 
a bench, is a basin containing some water and a piece of 
linen which have been used for the operation. 

There are also in the room five other persons : a woman, 
three men, and another little boy whose head you can only 
perceive. They all watch anxiously what the doctor is 
doing. The old woman is not beautiful, but she is good, 
and that is a great deal better. She holds in her right 
hand a pair of scissors with which she has cut up the 
bands of linen for our young patient. 

tt 

VEHICLES. 

Henry, mention me the name of every kind of 
carriage represented in this engraving. — 

There is a sleigh, a velocipede, a tilbury, a gig, 
a cab, a coupe, a phaeton, a dog-cart, a break, a 
victoria, a landau, an open carriage, an omnibus, a 
street car, a hearse, a wheel-barrow, a freight-car, 
a truck, a rubbish-cart, a cart, a chariot, a van, a 
locomotive, a tender, a wagon. 

DOGS. 

Here is an exhibition of dogs. 

Henry, name a few different kinds of dogs. — 

There is the watch-dog, the shepherd-dog, the hunt- 



6o 
Terre-Neuve, de St. Bernard, *e boule-dogue, f'epa- 
gneul, le levrier, le terrier, le griffon ecossais, le carlin, 
le caniche, le chien-danois, le terrier noir et feu, 
le loulou, le levrier russe, le braque. 

ANIMAUX, OISEAUX, INSECTES. 

Henri, nommez-nous quelques animaux. — 

Le lion, la lionne, les lionceaux ; l'elephant, l'hippo- 
potame, le rhinoceros ; le tigre, la tigresse ; Tours, le 
leopard, le chameau, la girafe, le cerf, le chamois, 
le zebre, le sanglier, le loup, la panthere, la hyene, le 
renard, le chevreuil, le lievre, le lapin, l'ecureuil, 
le singe, le chien, le chat, le rat, la souris, la belette, 
la taupe. 

Une baleine, un phoque, un crocodile, une loutre. 

Un cheval, une jument, un poulain; un taureau, un 
boeuf, une vache, un veau ; un ane, une anesse ; un 
mulet, une mule ; un belier, une brebis, un agneau ; 
un bouc, une chevre, un chevreau ; une hermine, 
une chauve-souris. — 

Marie, nommez quelques oiseaux. — 

L'aigle, le vautour, Tepervier, la cigogne, le heron, 
le perroquet, la perruche, Tautruche, le corbeau, 
Thirondelle, le rossignol, la fauvette, Talouette, le 
canari, la linotte, le moineau, le hibou, le bouvreuil, 
le merle, la grive, la pie, le geai, le colibri. — 

Nommez quelques oiseaux domestiques. — 




o 

CD 



5 



o 



6i 

ing-dog, the Newfoundland, the St. Bernard, the bull- 
dog, the spaniel, the greyhound, the terrier, the Scotch- 
terrier, the pug-dog, the poodle-dog, the great Dane, 
the black-and-tan terrier, the spitz-dog, the Russian 
greyhound, the French-pointer. 

ANIMALS, BIRDS, INSECTS. 

Henry, name us a few animals. — 

The lion, the lioness, the young lions; the elephant, 
the hippopotamus, the rhinoceros; the tiger, the 
tigress; the bear, the leopard, the camel, the girafe, 
the stag, the chamois, the zebra, the boar, the 
wolf, the panther, the hyena, the fox, the deer, 
the hare, the rabbit, the squirrel, the monkey, the 
dog, the cat, the rat, the mouse, the weasel, the mole. 

A whale, a seal, a crocodile, an otter. 

A horse, a mare, a colt; a bull, an ox, a cow, a calf; 
a donkey, a she-donkey; a he-mule, a she-mule; a ram, 
a ewe, a lamb; a buck-goat, a she-goat, a kid; an 
ermine, a bat. — 

Mary, name a few birds. — 

The eagle, the vulture, the hawk, the crane, the 
heron; the parrot, the female parrot; the ostrich, the 
raven, the swallow, the nightingale, the warbler, the 
lark, the canary, the linnet, the sparrow, the owl, 
the bullfinch, the black-bird, the thrush, the magpie, 
the jay, the humming-bird. — 

Name a few domestic birds. — 



62 

Le coq, la poule, les poussins ; le paon ; le dindon, 
la dinde ; la pintade, l'oie, le canard, le cygne, le 
pigeon. — 

Henri, nommez quelques reptiles. — 

Le serpent, le boa, la tortue, le lezard, la couleuvre, 
le crapaud, la grenouille. — 

Marie, nommez quelques insectes. — 

La fourmi, la cigale, la mouche, l'araignee, le han- 
neton, la puce, la sauterelle, le papillon, la chenille, 
l'abeille, la guepe, le moustique. 

' tt 

UNE MAISON. 

Le Panorama nous donne maintenant la facade 
d'une maison avec perron et balcon. — 

Henri, Qu'est-ce qu'une maison ? — C'est une habi- 
tation construite en pierres, en briques ou en bois, 
couverte d'un toit en ardoises, en tuiles ou en paille. 
II y a une porte pour entrer et sortir et des fenetres 
pour y laisser penetrer le jour et l'air. — 

Nommez les diverses parties d'une maison. — Les 
fondements, la cave et le sous-sol, le rez-de-chausee, 
un ou plusieurs etages, et les combles. — 

Faites-nous la description de l'interieur d'une 
maison, en commencant par le bas. — 

La cave sert a conserver le vin, les legumes et les 
provisions en general. La cuisine se trouve ordinai- 
rement dans le sous-sol 



Examples Ordres 

""v/ ^#^^^^> .f,,,.......... Le Maki. 

_AVjy 'r^II^P^^il^ Cliiiuve-souris. 

ff V, .e\rg?_ ; ^/' ~»?^^ ^ ^. . T^^ INSECTIVORES 

L^- ' **°*^^=^^^^^^V- "»?• La Taupe. 

carnivores 
Le Chat. 

n*T • • / ^sstfg^lilli^F '^'JT^ AMPIHB1ES 

At*. ftfSZk h «" Zt^&S**^ LePhoque. 

* S^Jlltilr ■■ ''■ • < ~M¥ S^rtS-/* RONGEURS 

„ « • Le Rat. 

EDENTES 

Le Tatou. 

PROBOSCIDIENS 

?&!&B!F l * s * y W£g& 1 •* ....M.-v-.r,...^ L*Ele"phant. 

PACHYDERMES 

| ^li Le Saxiglier. 

SOUPEDES 

Le Cheval. 

M J ^ S *&«r~~**i&+Jl^» ~ ^^^^¥*8&^i3§mikP RUMrNANTS 

^r^^^t-^^^"^ ^-'-^^^^^®^E • Le Mouton. 



CETACfS 

La Baleine. 




MARSUPIAUX 

\ll^' Le Kanguroo. 



MONOTREMES 



...."7" .^::..'?." .-*^T:r L'Oroilliorynque. 



63 

The rooster, the hen, the young chickens; the pea- 
cock; the turkey, the turkey-hen; the pintado, the 
goose, the duck, the swan, the pigeon. — 

Henry, name a few reptiles. — 

The snake, the boa, the turtle, the lizard, the 
adder, the toad, the frog. — 

Mary, name a few insects. — 

The ant, the locust, the fly, the spider, the may-bug, 
the flea, the grasshopper, the butterfly, the cater- 
pillar, the bee, the wasp, the mosquito. 

— n — 

A HOUSE. 

The Panorama gives us now the front of a house 
with steps and a balcony. — 

Henry, what is a house ? — It is a dwelling built of 
stone, brick or wood, covered with a roof of slate, 
tiles, or straw. There is a door to go in and go out, 
and windows to let in light and air. — 

Name the different parts of a house. — The founda- 
tion, the cellar and the basement, the ground-floor, 
one or several stories, and the garret.— 

Give us the description of the inside of a house, 
beginning with the lower part. — 

The cellar is used to preserve wine, vegetables and 
all kinds of provisions. The kitchen is ordinarily- in 
the basement, 



6 4 

Le rez-de-chaussee comprend un vestibule, un salon 
et la salle a manger. On entre au rez-de-chaussee, 
soit de plein pied, soit par un escalier surmonte par- 
fois d'un auvent ou marquise. 

Au premier etage ou Ton arrive par un escalier, il 
y a un corridor qui donne acces a une antich^mbre, 
un cabinet de toilette, deux chambres a coucher et un 
cabinet de bains. 

L'etage superieur contient les chambres des do- 
mestiques et une place de debarras. — 

Marie, faites-nous la description des diverses parties 
d'une maison. — 

Tout le monde sait ce qu'est une cuisine. 

Dans le vestibule se trouve un meuble appele 
portemanteau, pour y suspendre les chapeaux, les 
pardessus, et y deposer les parapluies, etc. 

Au salon, les deux f enetres qui donnent sur la rue sont 
garnies de rideaux de velours. Ily a : une table ronde 
en onyx, deuxfauteuils, une demi-douzaine de chaises, 
une causeuse et deux poufs. Sur la cheminee sont une 
pendule et deux candelabres. A gauche est un sofa au 
dessus duquel pend un tableau. A droite est un piano 
avec un easier de musique et un tabouret. Entre les 
deux fenetres se trouve une glace devant laquelle est 
une petite table avec une lampe. Sur cette table, de 
meme que sur celle du milieu de la piece, il y a des livres, • 
des photographies et des objets divers de fantaisie. 

Dans la salle a manger se trouvent une table a 
rallonges, douze chaises et un buffet 

(Continue dans le 2d livre) 



Amorlissemenl 
\ (FleunmJ 




jo**t UcjP.jjzrptisse 



65 

The ground-floor comprises a hall, a parlor and a 
dining-room. One enters the ground-floor either 
from the level of the street or by a staircase sur- 
mounted by a portico or marquise. 

On the first floor, which is reached by a staircase, 
there is a hall leading to an ante-room, a dressing- 
room, two bed-rooms and a bath-room. 

The top-floor contains the rooms for servants and a 
store-room. — 

Mary, give us the description of the different parts 
of a house. — 

Everybody knows what a kitchen is. 

In the hall is a piece of furniture called a hat-rack, 
for hats and overcoats, and to put umbrellas, etc. 

In the parlor, the two windows which overlook the 
street are adorned with velvet curtains. There is : 
an onyx round table, two arm-chairs, half a dozen 
of chairs, a causeuse, and two puffs. On the mantel- 
piece is a clock and two chandeliers. On the left is a 
sofa above which hangs a picture. On the right is 
a piano with a music-case and a stool. Between the 
two windows is a mirror, in front of which is a little 
table with a lamp upon it. Upon that table, as well 
as upon the one in the middle of the room, there are 
books, photographs and several fancy things. 

In the dining-room is an extension-table, twelve 
chairs and a sideboard. 

(Continued in 2d Book.) 



66 

Maintenant, Marie, lisez-nous cette charmante petite 
fable de La Fontaine. 

LA CIGALE ET LA FOURMI. 

(Fable y en vers, de La Fontaine, 1621-1695.) 

La cigale ayant chante, 

Tout 1'ete, 

Se trouva fort depourvue, 

Quand la bise fut venue. 

Pas un seul petit morceau 

De mouche ou de vermisseau. 

Elle alia crier famine, 

Chez la fourmi sa voisine, 

La priant de lui preter 

Quelque grain pour subsister 

Jusqu'a la saison nouvelle. 

Je vous paierai, lui dit-elle, 

Avant Totit, foi d'animal, 

Interet et principal. 

La fourmi n'est pas preteuse, 

C*est la son moindre defaut ; 

Que faisiez-vous au temps chaud ? 

Dit-elle a cette emprunteuse. 

Nuit et jour a tout venant, 
, Je chantais, ne vous deplaise. 

Vous chantiez ! J'en suis fort aise, 

Eh bien! dansez maintenant. 
Henri, quelle est la morale a tirer de cette fable ? — 
C'est qu'il faut toujours, dans la prosp£rite, songer a 
pourvoir aux mauvais jours qui arrivent souvent 
quand on s'y attend le moins. 






6 7 
Now, Mary, read us this sweet little fable of La 
Fontaine. 

THE LOCUST AND THE ANT. 

(Fable, in verse, from La Fontaine — 1621-1695.) 

The locust having sung, 

All summer, 

Found herself quite in want 

When the winter blast had come. 

Not a single little bit 

Of fly or wormling. 

She went, crying famine, 

To the ant, her neighbor, 

Begging her to lend her 

Some corn to subsist on 

Until the new season. 

I will pay you, said she, 

Before harvest-time, upon my faith v 

Interest and principal. 

The ant is not a lender, 

That is her least failing ; 

What did you do, in hot weather? 

Said she to this borrower. 

Night and day, to all comers, 

I sang, don't be displeased. 

You sang ! I am very glad of it, 

Well ! (You may) dance now. 
Henry, what is the moral to be drawn from this 
fable? — It is, that one must always, in prosperity, 
think to provide for rainy days which often come 
when one does not expect them. 



68 



3me PARTIE. 



CONVERSATIONS. 

1 

Bonjour, mademoiselle. Comment vous portez- 
vous? — Tres bien, et vous, comment allez-vous?— 
Assez bien, merci. — Asseyez-vous, je vous prie. — Je 
suis en retard, n'est-ce pas ? — Oui, un peu. — Etes-vous 
prete? — Oui, je le suis. — Avez-vous votre crayon? — 
Non, monsieur, je l'ai oublie ; voulez-vous bien m'en 
preter un? — En voici un. — Oh! la pointe en est cassee. 
— En voici un autre. — Avez-vous besoin d'autre chose? 
— J'ai besoin de papier pour prendre des notes. — En 
voici. — Merci bien. — Est-ce tout ? — Oui, monsieur. Je 
suis toute prete, a present. 

2 

Commencons notre legon. Avez-vous etudie un 
peu ? — Pas beaucoup. — II faut etudier chez vous. — Je 
n'ai pas eu le temps. J'ai ete tres occupee. On trouve 
toujours le temps quand on veut. — J'ai aussi ete un 
peu malade. — Etait-ce serieux? — Assez. — Alors, c'est 
different; vous etes excusee. — Vous etes bien bon, 
professeur. — Pas toujours; une autre fois, je vous 



6 9 

3D PART. 



CONVERSATIONS. 

1 
Good day, miss. How do you do? — Very well, 
and how are you? — Pretty well, thanks. — Sit 
down, I pray you. — I am late, am I not? — Yes, a 
little. — Are you ready ? — Yes, I am.— Have you your 
pencil? — No, sir, I have forgotten it; will you kindly 
lend me one? — Here is one. — Oh! the point is 
broken. — Here is another one. — Do you need any- 
thing else ? — I need some paper to take notes. — Here 
is some. — I thank you very much. — Is that all ? — Yes, 
sir. I am quite ready, now. 

2 

Let us begin our lesson. Have you studied a little ? 
— Not much. — You must study at home. — I had no 
time. I have been very busy. — One always finds time 
when one wishes. — I have also been a little ill. — Was 
it serious? — Rather. — Then, it is a different thing; 
you are excused. — You are very kind, professor. — 
Not always ; another time I will scold you, if you do 



7o 
gronderai si vous n'etudiez pas. — J'etudierai pour 
rattraper le temps perdu. — Nous verrons. — Vous pou- 
vez en etre sur. — Eh bien, j'y compte. — Comptez-y. 

3 

Mettons-nous a Touvrage. Commengons. — Je vous 
ecoute, monsieur. — Avez-vous fait votre exercice? — 
Oui, monsieur. — Ou est-il ? — Le voici. — Donnez-le moi, 
s. v. p. Bien, je le corrigerai et vous le renverrai par 
la poste. Avez-vous votre carnet de notes? — Oui, je 
Tai. — Avez-vous votre livre ? — Lequel ? — Le Livre de 
conversation. — Je ne Tai pas apporte. — Pourquoi pas ? 
— Parce que vous m'avez dit que vous en avez tou- 
jours a la disposition de vos Aleves. — C'est vrai. 
Tenez, prenez celui-ci. — Je vous en remercie. 

4 

A quel chapitre en sommes-nous? — Au troisieme. — 
Quelle page ? — A la deuxieme. — Quelle ligne ? — Vers 
le milieu de la page. — Comptez, s'il vous plait. — Un, 
deux, trois, quatre, cinq, six, sept, huit, neuf, dix, onze 
douze, treize, quatorze, quinze, seize, dix-sept, dix- 
huit, dix-neuf, vingt, vingt et un . . . vingt et unieme 
ligne. — Vous savez bien compter; savez - vous 
aussi les noms des jours de la semaine? — 
Dimanche, lundi, mardi, mercredi, jeudi, vendredi 
et samedi. — Et les noms des mois? — Janvier, 



7* 
not study. — I will study to make up the time lost. — 
We will see. — You can be sure of it. — Well, I depend 
upon it. — Depend upon it. 

3 

Let us go to work. Let us begin. — I listen to you, 
sir. — Have you made your exercise ? — Yes, sir. — 
Where is it ? — Here it is. — Give it to me, if you please. 
Well, I will correct it and send it back to you by 
mail. Have you your note-book ? — Yes, I have it. — 
Have you your book ? — Which one ? — The book of 
conversation. — I did not bring it. — Why not? — Be- 
cause you told me that you always had some at the 
disposal of your pupils. — That is so. — Here, take this 
one.— I thank you for it. 

4 
At what chapter are we ? — At the third. — What 
page ? — At the second. — What line ? — About the 
middle of the page. — Count, if you please. — One, 
two, three, four, five, six, seven, eight, nine, ten, 
eleven, twelve, thirteen, fourteen, fifteen, sixteen, 
seventeen, eighteen, nineteen, twenty, twenty-one — 
twenty -first line. — You know how to count well; 
do you know also the names of the days of the week ? — 
Sunday, Monday, Tuesday, Wednesday, Thursday, 
Friday, Saturday. — And the names of the months ?— 



1* 
fevrier, mars, avril, mai, mai, juin, juillet, aout, 

septembre, octobre, novembre et decembre. 

5 
Reprenons nos petites phrases de conversation. — 
Lesquelles, professeur? — Celles de la troisieme page. 
Je vais vous lire les phrases francaises et vous les 
traduirez en anglais. — Si je puis. — Vous pourrez le 
faire, je pense. Ecoutez-moi. — J'ecoute. — Je com- 
mence. — Je ne comprends pas; voulez - vous bien 
repeter? — Comprenez-vous? — Vous parlez un peu 
trop vite. — Eh bien, je vais repeter. — Ah! j'ai compris, 
cette fois. — Maintenant, nous ferons Tinverse. — Cela 
est plus difficile. — Traduisez cette phrase en francais. 
— Je ne peux pas. — Essayez. Ne vous pressez pas. 
Prenez votre temps. Prenons une chose apres Tautre. 
Ah ! tres bien. Seulement, il y a un mot que n'avez 
pas prononce correctement. — Lequel? — Le dernier ; 
voulez-vous le repeter? C'est bien, maintenant. 

6 

Quelle heure est-il, monsieur le professeur? — II est 
dix heures moins onze minutes.— Deja? Le temps 
passe vite. J'ai un rendez-vous, permettez-moi de 
m'en aller. — Comme vous voudrez. — Quand est ma 
prochaine lejon ? — Jeudi prochain. — A quelle heure ? 
— A Theure habituelle, je veux dire a dix heures. — Que 



1Z 
January, February, March, April, May, June, July, 

August, September, October, November, December. 

5 

Let us take again our little conversation sentences. 
/—Which ones, professor? — Those on the third page. 
I am going to read to you the French sentences and 
you will translate them into English. — If I can. — You 
will be able to do it, I think. Listen to me. — I am 
listening. — I begin. — I do not understand ; will you 
kindly repeat. — Do you understand ? — You speak a 
little too quickly. — Well, I am going to repeat. — Ah! 
I understood this time. — Now, we will do the op- 
posite way. — That is more difficult. — Translate this 
sentence into French. — I cannot. — Try. Do not be in 
a hurry. Take your time. Let us take one thing 
after the other. Ah! very well. Only there is one word 
which you did not pronounce correctly. — Which one ? 
— The last ; will you repeat it ? It is right now. 

6 

What time is it, professor? — It is eleven min- 
utes to ten. — Already ? Time passes quickly away. 
I have an appointment ; allow me to leave. — 
As you please. — When is my next lesson ? — Thurs- 
day next. — At what time? — At the ordinary hour, 
I mean at ten o'clock. — What shall I study? — 



u 

dois-je etudier? — Apprenez le quatrieme chapitre. — 
Toutentier? II est bien long. — Eh bien, prenez-en 
une partie. — J'en apprendrai la moitie. — Etudiez ce 
que vous pourrez. — Oh! et mon rendez-vous ? 
J'arriverai trop tard. II faut me hater. Ou est 
mon carnet de notes? Ai-je mon eventail? Et 
mon parapluie ? — La, dans le coin, madame. — 
J'oublie toujours quelque chose ; je suis si etourdie. 

7 

Oil allez-vous ? — Chez ma couturiere. — Pourquoi ?— - 
Pour faire faire une robe. — Ou demeure-t-elle ?— Dans 
la dix-septieme rue. — Quel numero? — 178. — Du cote* 
Est ou Ouest? — Ouest. — Et 011 irez-vous ensuite? — Je 
ne sais pas encore; probablement chez moi. — Vous 
allez me dire que je suis bien curieux; n'est-ce pas? — 
Oh, non. J'aime beaucoup a etre questionnee; cela 
me force a parler. Au revoir, Mr. le professeur. — Au 
revoir, mademoiselle, et a jeudi. N'oubliez pas le jour. 
— Je ne Toublierai pas. — Je serai ici a dix heures. — 
Du matin ou du soir ? — Du matin, cela va de soi. 

§ 

Ou avez-vous ete hier soir, mademoiselle ? — Je ne 

suis pas sortie. — Comment cela? — Nous avons eu une 

soiree k la maison. — Et avant-hier soir ? — Devinez. — 

J'y renonce. — Nous sommes allees au theatre. — 



75 
Learn the fourth chapter. — The whole? It is very 

long. — Well, take a part of it. — I will learn the 
half of it. — Study what you can. — Oh! and re- 
appointment? I will be too late. I must hurry. 
Where is my note-book ? Have I my fan ? And 
my umbrella? — There in the corner, madam. — 
I always forget something ; I am so absent- 
minded. 

7 
Where are you going? — To my dressmaker. — What 
for? In order to have a dress made. — Where is she 
living? — In Seventeenth Street. — What number? — 
178. — On the east or west side? — West. — And where 
will you go after? — I do not know yet; probably 
home. — You are going to tell me that I am very in- 
quisitive; are you not? — Oh! no. I like to be ques- 
tioned very much; it compels me to talk. — Good-by, 
professor. — Good-by, miss, and until Thursday. Do 
not forget what day. — I will not forget it. I shall be 
here at ten o'clock.— a.m. or p.m.? — a.m., of course. 

§ 

Where were you last evening, miss ?- — I did not go 

out. — Why so ? — Because we had an evening party at 

home. — And the day before yesterday ? — Guess it. — 

I give it up. — We went to the theatre. — Which one ? 



7 6 
Auquel ? — Aii Theatre Francais. — Vous y etes-vouS 
bien amusee? — Oui, beaucoup. — Y avait-il un nom- 
breux auditoire ? — La salle etait comble. — Qu'a-t-on 
joue? — Le Mariage de Figaro. — Quel est l'auteur de 
cette comedie ? — Beaumarchais. — Qui est-il ? — Un ecri- 
vain francais, l'auteur du Barbier de Seville. — Quand 
est-il ne ? — En 1732. — Quand est-il mort ? — En 1799. 

9 

Professeur, permettez-moi de vous faire une 
question. — Volontiers. Je vous ecoute. — Comment 
appelle-t-on cela? Cela s'appelle canif, en francais. — 
Je ne saisis pas bien la prononciation ; voulez-vous 
repeter ? — Canif. — Comment epelle-t-on ce mot ? — 
C-a-n-i-f. — Professeur, a quoi sert votre " Panorama 
instructeur "? — A faire parler. — Comment dites-vous 
en frangais that is understood ? — Cela va de soi ; c'est 
un idiotisme. — Professeur, je vous ennuie avec mes 
questions, n'est-ce pas ? — Pas du tout. — Une derniere, 
si vous le permettez. — Allez. — Suis-je une bonne eleve. 
— Vous avez fait beaucoup de progres. — Sans flatterie? 
Ce n'est que la verite. — Quand pourrai-je parler con- 
venablement ? — Cela depend de vous. — Dans quelques 
mois ? — Oui, si vous etudiez beaucoup chez vous. 

10 

II fait tres froid aujourd'hui II a gele la nuit 



77 
—To the Theatre Francais.— Did you enjoy yourself 

there ? — Yes, very much. — Was there a large audience ? 
—The place was full. — What did they play? — "Le 
Manage de Figaro." — Who is the author of that 
comedy? — Beaumarchais. — Who is he? — A French 
writer, the author of " Le Barbier de Seville." — When 
was he born? — In 1732. — When did he die? — In 1799. 

9 

Allow me, professor, to ask you a question. — Will- 
ingly; I listen to you. — How do they call that ? — That 
is called canif, in French. — I do not catch the pro- 
nunciation very well ; will you kindly repeat ? — 
Canif. — How does one spell that word? — C-a-n-i-f ? — 
Professor, what is the use of your " Panoramic In- 
structor ?" — To make one talk. — How do you say in 
French "that is understood ?" — Cela va de sot j it is an 
idiom. — Professor, I weary you with my questions, do 
I not ? — Not at all. — A last one, if you will allow it. 
— Go on. — Am I a good pupil? — You improved a 
great deal. — Without flattery ? — It is but the truth. — 
When shall I be able to speak properly ? — That de- 
pends upon yourself. — In a few months ?■ — Yes, if you 
study much at home. 

10 

It is very cold to-day. It has frozen during the 



78 
passee. II neige a present. Je grelotte. — Approchez- 

vous du feu. — II fait bon ici. — Pourquoi n'etes-vous 

pas venue a la derniere legon ? — J'etais indisposee, et 

je le suis encore. — Qu'avez-vous ? — J'ai un rhume de 

cerveau. — J'en suis bien fache. C'est desagreable. — 

Qu'y a-t-il a faire ? — II faut renifler du camphre. — 

Oh ! ce sera bientot passe. — Tant mieux. .Ten serai 

fort aise. — Monsieur le professeur, je voudrais bien 

m'en aller. — Etes-vous pressee ? — Oui. — Alors vous 

pouvez quitter. — Oh! mais il pleut, je crois. — En effet, 

madame. — Que vais-je faire ? Je n'ai pas de para- 

pluie ; pouvez-vous m'en preter un ? — Avec plaisir. — 

Je le renverrai tantot. — Rien ne presse, madame. — Je 

vous suis bien obligee. 

11 

Dites-moi, mademoiselle, qu'avez-vous fait hier ? — 

Pas grand'chose. — A quelle heure vous etes-vous 

levee ? — Vers sept heures et demie. — Vous etes 

matinale. — Pas tous les jours ; loin de la. — A quelle 

heure dejeunez-vous habituellement ? — A huit heures. 

— Que prenez-vous d'ordinaire ? — Du cafe au lait ou 

du chocolat, avec pain et beurre. — Que faites-vous 

apres le dejeuner ? — Je retourne dans ma chambre. — 

Pourquoi faire ? — Je commence par mettre tout a sa 

place. Puis, je travaille ; je lis, j'ecris, je brode, je 

couds parfois, je fais un peu de musique, je fais mes 



79 
night. It snows now. I am shivering. — Come near 

to the fire. — It is comfortable here. — Why did you 

not come to the last lesson? — I was indisposed, and 

I am still so. — What ails you? — I have a cold in the 

head. — I am very sorry for it. It is unpleasant. — 

What is to be done? — You must sniff camphor. — Oh! 

it will be soon over. — So much the better. I will be 

very glad of it. — Professor, I would like to leave. — 

Are you in a hurry ? — Yes. — Then you may leave. — 

Oh! but it rains, I believe. — Indeed, madam. — What 

shall I do ? I have no umbrella ; can you lend me 

one ? — With pleasure. — I will send it back directly. — 

There is no hurry, madam. — I am much obliged 

to you. 

11 

Tell me, miss, what did you do yesterday ? — Not 
much. — At what time did you rise ? — At about half- 
past seven. — You are an early riser — Not every day; 
far from it. — At what hour do you usually breakfast? 
— At eight o'clock. — What do you ordinarily take ? — 
Coffee and milk, or chocolate, with bread and butter. 
— What do you do after breakfast ? — I go back to my 
room. — What for? — I begin by putting everything in 
its proper place. Then I work ; I read, I write, I 
embroider, I sew sometimes, I play music a little, I 
make up my French exercises. At eleven o'clock I 



..J 



80 

exercices de frangais. A onze heures, je m'habille 
pour sortir. — Etes-vous sortie hier ? — Non, monsieur, 
parce qu'il faisait trop mauvais temps. 

12 

A quelle heure avez-vou.s pris votre lunch ? — Vers 
midi. — Aviez-vous faim ? — Pas trop. — Qu'avez-vous 
mange ? — Une cotelette d'agneau, deux oeufs sur le 
plat, des choux-fleurs, et un peu de fruit. — Qu'avez- 
vous fait apres votre lunch ? — Nous sommes allees, 
ma tante et moi, nous promener. — Oil ? Au pare. — 

Y avez-vous rencontre quelque connaissance ? — Oui, 
mademoiselle Detree. La connaissez-vous? — Un peu, 
je lui ai ete presente, il y a quelque temps. Elle va 
se marier. — Quand ? — Bientot. — Avec qui? — Avec 
monsieur Detouche, un grand et bon jeune homme. — 

Y avait-il beaucoup de monde au pare ? — II y avait 
foule. — A quelle heure etes-vous rentrees? — A six 
heures, juste a temps pour le diner. 

13 

A quelle heure avez-vous dine hier ? — Un peu apres 
six heures. — Combien de personnes etiez-vousatable? 
— Sept personnes. — Qui? — Mon pere, ma mere, mes 
freres, ma soeur et une amie de ma mere. — Puis-je vous 
demander de quoi se composait le menu? — Nous avons 
eu des huitres, un potage printanier, du poisson ; des 



8i 

dress myself for going out. — Did you go out 
yesterday? — No, sir, because the weather was 
too bad. 

19 

At what time did you take your lunch ? — 
About noon. — Were you hungry? — Not very much. 
— What did you eat ? — A lamb cutlet, two fried 
eggs, cauliflowers, and some fruit. — What did 
you do after your lunch ? — We went, my aunt and 
myself, for a walk. — Where ? — To the park. — 
Did you meet some acquaintance ? — Yes, Miss 
Detree. Do you know her ? — A little, I was intro- 
duced to her some time ago. She is going to be 
married. — When ? — Soon. — To whom ? — To Mr. 
Detouche, a tall and good young man. — Were there 
many people in the park ? — It was crowded. — At 
what hour did you return home? — At six o'clock, 
just in time for dinner. 

13 

At what time did you dine yesterday ? — A little after 
six. — How many persons were at table ? — Seven per- 
sons. — Who ? — My father, my mother, my brothers, 
my sister, and a lady friend of my mother. — May I 
ask you what the "menu" was composed of? — We 
had oysters, apotage " printanier," some fish; radishes 



82 

radis et des sardines, comme hors-d'oeuvre ; des per- 
drix aux choux, comme entree ; du macaroni et une 
croute aux champignons, comme entremets; du poulet 
roti, du chevreuil, de la salade de homard, et un dessert. 
Comme boisson, du vin de bordeaux et du champagne. 
— Aimez-vous le champagne ? — Qui n'aimerait pas le 
champagne, ce vin qui deverse l'esprit et la gaite ? 

14 
Ou avez-vous passe la soiree d'hier ? — A la maison. 
Apres le diner, vers huit heures, tout le monde est 
passe au salon. — Qu'y a-t-on fait ? — On a cause. — Sur 
quel sujet? — De choses et d'autres. On a fait de la 
musique. Les jeunes ont danse; les vieux ont joue 
aux cartes. — A quel jeu ? — Au whist. — Connaissez- 
vous ce jeu ? — Non, monsieur, et je ne veux pas 1'ap- 
prendre. — Pourquoi pas ? Parce qu'il est trop serieux 
et trop monotone. — A quelle heure etes-vous allee 
vous coucher ? — Passe minuit. — Avez-vous bien dormi ? 
— Pas tres bien; j'ai eu le cauchemar. 

15 

Allons prendre un peu Tair. — Ou irons-nous ? — 
N'importe, ou vous voudrez. — Appretons-nous.— Par- 
tons. — Ne marchez pas si vite. — Etes-vous fatiguee? 
— Oui; et puis j'ai mal h un pied. — Alors, prenons une 
yoiture, Cocher ; etes-vou§ Hbre? — Oui, mesdames, 



S3 
and sardines, as " hors-d'oeuvre ; " partridges with 

cabbage, as " entree;" macaroni and a crust with 
mushrooms, as "entremets;" roast chicken, venison, 
some salad with lobster, and a dessert. For drink, 
some claret and champagne. — Do you like champagne ? 
— Who does not like champagne, that wine which 
pours wit and gaiety ? 

14 
Where did you spend the evening, yesterday ? — 
At home. After dinner, about eight o'clock, every- 
body went to the parlor. — What did they do there ? 
— They talked. — On what subject ? — Of one thing and 
another. There was some music. Young people had 
a hop; old people played at cards. — At what game ? — 
At whist. — Do you know that game ? — No, sir, 
and I do not wish to learn it. — Why not? — Because it 
is too serious and monotonous. — At what time did 
you retire? — Past midnight. — Did you sleep well? — 
Not very well; I had a nightmare. 

15 

Let us go and take a little airing. — Where shall we 
go? — No matter, where you like. — Let us get ready. 
— Let us go. — Do not walk so fast. — Are you tired ? — 
Yes; and besides, I have a sore foot. — Then let us take 
a carriage. Driver, are you disengaged ? Yes, ladies, — 



8 4 

— Conduisez - nous aux Champs - Elysees, ensuite 

au Bois de Boulogne. Cocher, ramenez -nous a 

l'hotel. Combien vous dois-je? — C'est dix francs, 

madame, et le pourboire — Voici dix francs et quelque 

chose pour vous. — Bien oblige, madame, et a votre 

service. 

16 

Voulez-vous sortir avec moi ? — Ou allez-vous ? — 
J'ai une visite a faire, et apres cela, j'irai acheter diffe- 
rentes choses dont j'ai besoin. — Je vous accompagne- 
rai. — Hatons-nous. — Ou faites-vous vos emplettes ? — 
Tantot aux "Magasinsdu Louvre," tantot au " Bon 
Marche," ou encore au " Printemps." Ce sont les 
meilleurs magasins de nouveautes de Paris. — Commen- 
cons par le " Louvre." Ce n'est qu'a deux pas. Nous 
y voici; entrons. 

17 

Que desirez-vous, madame ? — J'ai besoin de plusieurs 
choses. Montrez-moi d'abord des echantillons de soie 
pour robes. J'aime assez ceci. Combien le metre? 
— Neuf francs, madame. — C'esttrop cher; voulez-vous 
bien me montrer d'autres etoffes, a meilleur marche ? 
Je prendrai celle-ci. — Ne desirez-vous pas autre chose, 
madame ? — Rien d'autre, pour le present.— Voici la 
facture; voulez-vous payer a la caisse? — Envoyez le 



8 5 
Take us to the Champs-Elysees, afterward to the Bois 
de Boulogne. Driver, take us back to the hotel. How 
much do I owe you ? — It is ten francs, madam, and 
something for a drink. — Here are ten francs and some- 
thing for you. — Much obliged, madam, and I am at 

your service. 

16 

Will you go out with me? — Where are you going? 
— I have a visit to pay, and afterward I will go and 
buy different things that I need. — I will go with you. 
— Let us hasten. — Where do you make your pur- 
chases ? — Sometimes at the " Magasins du Louvre," 
sometimes at the " Bon Marche," or at the "Prin- 
temps." They are the best dry goods stores in Paris. 
— Let us begin with the " Louvre." It is but a few 
steps. We are there; let us go in. 

17 

What do you wish, madam ? — I want several things. 
Show me first samples of silk for dresses. I like this 
pretty well. How much a metre? — Nine francs, 
madam. — It is too dear ; will you kindly show me some 
other cheaper materials ? I will take this one. — Do 
you not wish anything else, madam? — Nothing else, 
at present. — Here is the bill; will you pay the cashier? 
— Send the parcel to my house; here is my address. 



86 
paquet chez moi, void mon adresse. Rentrons a 
Thotel pour voir s'il n'y a pas de lettres. 

18 
Passons au bureau. N'y a-t-il rien pour moi? — 
Rien ce matin. — Le facteur est-il venu ? — Pas encore. 
— Quand il sera ici, faites-le-moi savoir. — Je n'y man- 
querai pas. — N'avez-vous pas regu un paquet pour 
moi ? — Si, madame, il est dans votre chambre. — J'ai a 
£crire des lettres. — Avez-vous ce qu'il faut ? — Rien du 
tout. Procurez-moi du papier a lettre, de l'encre, une 
plume et une demi-douzaine d'enveloppes. Envoyez 
tout cela en haut. Portez-en le cofit a mon compte. 
Faites ma note ce soir, comme je pars demain de 
bonne heure. Ou est le cabinet de lecture ? — A cote 
de la salle a manger. — Avez-vous un journal en an- 
glais ? — Oui, le New York Herald, edition de Paris — 
Donne-t-il le programme des theatres ? — Tres complet. 

— Allons voir. 

19 

Monsieur, y a-t-il des lettres poste restante pour ma- 
dame S. . ? — Je vais voir. En voici une, madame. — 
J'attends une lettre chargee. — II n'y en a pas. — Je re- 
passerai plus tard. Je desire des timbres-poste. — 
Lesquels? — Deux a 25 centimes, trois a 15, et quatrea 
5 centimes. — Voila, madame. — Merci bien. — Quel jour 
part la malle pour New York ? — Le samedi. — A quelle 



8 7 

Let us return to the Hotel to see if there are any 

letters. 

IS 

Let us call at the office. Is not there anything for 
me? — Nothing this morning. — Has the postman 
come ? — Not yet. — When he does come let me know. 
— I shall not fail. — Have you not received a parcel for 
me ? — Yes, madam, it is in your room. — I have to 
write some letters. — Have you the necessary things? 
— Nothing at all. Let me have some paper, ink, a 
pen, and a half dozen envelopes. Send all that up- 
stairs. Charge the cost of it to my account. Make 
up my bill this evening, as I start early to-morrow. 
Where is the reading-room ? — Next to the dining- 
room. — Have you a newspaper in English ? — Yes, the 
New York Herald, Parisian edition. — Does it give the 
programme of the theatres ? — Very complete. — Let us 

go and see. 

19 

Sir, are there any letters posit restante for Mrs. S ? 

— I am going to see. Here is one, madam. — I expect 

a registered letter. — There is none. — I will call again, 

later on. I wish some postage stamps. — Which ones ? 

— Two of 25 centimes, three at 15, and four at 5 

centimes. — There they are, madam. — Thanks. — On 

what day does the mail leave for New York ? — On 



heure la poste est-elle ouverte au public? — De huit 
heures du matin a huit heures du soir. 

30 

Voila un des restaurants Duval. — II n'est que onze 
heures et demie; c'est un peu tot pour dejeuner. — 
J'ai tres faim. — Alors, entrons. — Garjon, la carte, 
s. v. p. ? — Voici, monsieur. — C'est bien. Servez-moi 
un dejeuner a la fourchette. — Avec du vin rouge ou 
du vin blanc? — Cela m'est indifferent. Depechez- 
vous, s. v. p.; je suis presse. — Je ferai mon possible. — 
Garjon, donnez-moi une demi-tasse avec un petit 
verre de fine champagne et un cigare. L'addition, 
s. v* p.— Voila, monsieur. 

91 

Cocher, conduisez-moi a la gare Montparnasse. — 
Nous sommes arrives. — Facteur, prenez ma malle. 
Oti est le bureau des billets — A droite, en entrant. — 
Un billet pour Versailles ? — Quelle classe ? — Seconde 
classe. — C'est i franc 75 (un franc soixante quinze 
centimes). — Oh est la salle des bagages ? Oh est la 
salle d'attente ? Ceci est-il le train express pour 
Paris ? — Les voyageurs en voiture ! Vos billets, 
s. v. p. ? — Quel est le nom de cette station ? Conduc- 
teur, combien de temps s'arrete-t-on ici ? — Dix 
minutes. — Oh est le buffet? — A votre gauche. 



g 9 

Saturday. — At what time is the post-office open to the 
public ? — From 8 a. m. until 8 p. m. 

20 

There is one of Duval's restaurants. — It is only half- 
past eleven and that is rather a little early to break- 
fast. — I feel very hungry. — Then let us go in. — Waiter, 
the bill of fare, if you please? — Here it is, sir. 
— All right. — Serve me a lunch. — With red or white 
wine ? — It is immaterial to me. — Do make haste ; I 
am in a hurry. — I will do my best. — Waiter, give me 
half a cup of coffee with a small glass of " fine cham- 
pagne " and a cigar. The bill, please. — Here it is, 
sir. 

21 

Driver, take me to the "gare Montparnasse." — We 
have arrived. Porter, take my trunk. Where is the 
ticket-office ? — To the right, on entering. — A ticket 
for Versailles ? — Which class ? — Second class. — It is 
1 franc 75. (One franc seventy-five centimes). — Where 
is the luggage-room ? Where is the waiting-room ? 
Is this the express-train to Paris? — All aboard! Your 
tickets, please ? — What is the name of this station ? 
Conductor, how long do they stop here? — Ten 
minutes. — Where is the refreshment - room ? — On 
your left. 



90 
22 

Quel heureux hasard de vous rencontrer a Paris! 
Je suis bien contente de vous voir. D'oti venez-vous ? 
• — Je viens de Menton. — Quand etes-vous arrivee? — 
Ce matin meme.-Ou etes-vous descendue?— Au Grand 
Hotel, Boulevard des Capucines. — Oti allez-vous 
maintenant ? Chez mon banquier pour avoir de Tar- 
gent et mes lettres. — Et vous, ma chere, oil demeurez- 
vous ? — A l'Hotel de Normandie, presdu Palais-Royal 
et du Jardin des Tuileries. — Qui est avec vous, 
ici ? — Ma fille. — Venez done nous voir ? — Avec plaisir. 
— Ne manquez pas. — A quelle heure puis-je*vous trou- 
ver ? — Le matin, a toute heure. Au revoir. 

23 

II fait jour. Levons-nous. — Quelle heure est-il ? — 
II est sept heures. — J'ai encore sommeil. — Eh bien, 
rendormez-vous, si vous pouvez. — Reveillez-moi dans 
une demi-heure. — Sonnez la femme de chambre. — On 
frappe a la porte. — Entrez! — Sara, donnez-moi mon 
peignoir et mes pantoufles. — Quelle robe madame 
mettra-t-elle aujourd'hui? — Cela depend du temps. 
Je dois sortir. Regardez par la fenetre quel temps il 
fait. — II y a des nuages, le temps est a lapluie. — Alors, 
preparez ma toilette brun fonce, ma robe noire pour 
le diner, et lableue pour la soiree, avec mesgants gris 
perle. Des que le coiffeur sera arrive, faites-le mon- 
ter. — Bien, madame. — Maintenant, aidez-moi a m'ha- 
biller. Allez chercher un peu d'eau chaude. Apportez, 
en meme temps, les bottines neuves qu'on a envoyees 



9* 
22 

How lucky to meet you in Paris! 1 am very glad to 
see you. Where do you come from ? — I came from 
Menton. — When did you arrive ? — I arrived this very 
morning. — Where are you stopping? — At the Grand 
Hotel, Boulevard des Capucines. — Where are you going 
now ? — To my banker's, to get some money and my 
letters. — And you, dear, where are you living ? — At 
the Hotel Normandie, near the Palais Royal and the 
Jardin des Tuileries. — Who is with you here? — My 
daughter. — Do come to see us. — With pleasure. — Do 
not fail. — At what hour can I find you ? — Any time in 
the morning. — Good-bye. 

23 

It is day-light. Let us get up. — What time is it ? — 
It is seven o'clock. — I am still sleepy. — Well! Go to 
sleep again, if you can. — Wake me up in half an hour. 
— Ring for the chamber-maid. — Somebody knocks at 
the door. — Come in! — Sarah, give me my wrapper and 
my slippers. — What dress will madam put on to day ? 
— It depends upon the weather. — I have to go out. 
Look out at the window and see what kind of weather 
it is. — It is cloudy and looks like rain. — Then get my 
dark brown dress ready, my black dress for dinner 
and the blue one for the evening, with my pearl-gray 
gloves. As soon as the hair-dresser comes, send him 
up. — Very well, madam. — Now, help me to dress my- 
self. Go and fetch me a little warm water. Bring at 
the same time the new boots they sent yesterday. — 



9* 
hier. — Est-ce tout ? — Oui, c'est tout, quant a present. 
Allez vous informer si le dejeuner est pret. — II sera 
pret dans un quart d'heure. — Je dejeunerai en bas 
dans la salle a manger. 

24 

Bonjour, ma tante. Comment vous portez-vous ce 
matin ? — Bien, comme a l'ordinaire, je vous remercie; 
et comment allez-vous? — Je ne me sens pas bien, j'ai 
passe une mauvaise nuit. — Quelle en a ete la cause ? 
— J'ai pris froid en rentrant du concert. J'ai eu la 
fievre; mon sommeil a ete tres agite. J'ai fait un mau- 
vais reve. — Vous devez vous soigner. — C'est ce que je 
ferai. J'espere que ce ne sera rien. — Ne faudrait-il pas 
envoyer chercher lemedecin? — Non, non; nous verrons 
plus tard, si cela ne va pas mieux. Pourvu que ce ne 
aoit pas la grippe! J'en ai une peur affreuse. — II ne 
faut pas avoir peur. Rappelez-vous le dicton : " Nous 
ne serions jamais malade, si nous ne nous imaginions 
pas que nous sommes malade." C'est evidemment de 
l'exageration, mais il ya un fond de verite. — J'entends 
sonner neuf heures. — Sortons pour prendre un peu l'air; 
cela vous fera du bien. — Sara, donnez-moi mon cha- 
peau,mon chale, mon ombrelle et mesgants. Partons. 

25 

Sara, ou est le journal? — II est en bas, madame. — 
Allez le chercher. — J'y vais. — Le voici, madame; on 
vient de l'apporter. — Y a-t-il des lettres pour moi, ce 
matin ? — II n'y en a pas. — Le facteurn'est-ilpas encore 
venu ? — Je l'attends d'un moment a l'autre. Prevenez- 



93 
Is that all? — Yes, that is all, for the present. Go and 
inquire if breakfast is ready. — It will be ready in a 
quarter of an hour. — I wilx oreakfest down stairs in 
the dining-room. 

24 

Good morning, aunt. How do you do this morning ? 
— Well, as usual, I thank you; and how are you? — I do 
not feel well, I had a bad night. — What was the cause 
of it ? — I caught cold while returning from the concert. 
I had a fever, my sleep was very restless. I had a 
bad dream. — You must take care of yourself. — It is 
what I will do. — I hope it will be a mere nothing. — 
Would it not be necessary to send for the physician ? 
No, no; we will see later on, if my health does not get 
better. I hope it is not the grippe! I have a terrible 
fear of it. — You must not be afraid of it. — Remember 
the motto " We would never be sick, if we did not 
fancy that we are sick." It is somewhat exaggerated 
evidently, but there is some truth in it. — I hear 
the clock striking nine. — Let us go out to take 
a little fresh air, that will do you good. — Sarah ! 
give me my hat, my shawl, my parasol and my 
gloves. Let us go. 

25 

Sarah, where is the newspaper? — It is down stairs, 
madam. — Go and fetch it. — I am going there. — There 
it is, madame; they have just brought it. — Are there 
any letters for me, this morning? — There are none. — 
Has not the letter-carrier come yet ? — I expect him 



94 
moi, des qu'il sera arrive; n'y manquez pas. — Le voila 
qui entre. — Facteur, avez-vous quelque chose pour 
moi? — Oui, madame, j'ai beaucoup de choses : une 
boite, trois lettres, un journal de modes et un rouleau 
eontenant une gravure. — Oh! donnez vite la boite; 
elle contient une bague et un bracelet pour mes etren- 
nes. C'est un cadeau de mon parrain et de ma mar- 
raine. lis sont si bons pour moi. — Madame, une des 
lettres est surtaxee. — Combien y a-t-il a payer de ce 
chef? — Dix centimes. — Sara, reglez cela. Facteur, 
voulez-vous bien m'apporter des timbres - poste, 
quand vous reviendrez. — Avec plaisir. — Ne l'ou- 
bliez pas. — Je ne l'oublierai pas. Vous les aurez 
demain, sans faute. Combien vous en faut-il ? — 
Quatre a dix centimes, trois a cinq centimes et 
un a un centime. — Cela fait en tout cinquante-six 
centimes. — C'est bien, madame. — Maintenant, lisons 
le journal. 

MONOLOGUE. 
Ce cher journal ! cet ami de la maison. . . un peu indiscret 
parfois, il est vrai, en s'immisgant un peu trop dans les af- 
faires privees. Cependant, il faut bien lui pardonner quel- 
chose, car il nous rend service. Si, par exemple, ce compa- 
gnon si fidele, si regulier matin et soir, nous faisait defaut, 
que ferions-nous toute la journee, en l'absence de ceux qui 
nous sont chers? Soyons franche. II ne nous deplait pas, 
je l'avoue, de parcourir le compte-rendu de ces petits scan- 
dales qui sont au journalisme ce que le piment est a un plat 
3ans saveur. La digestion en serait souvent Jaborieuse, 



95 
every minute. — Let me know as soon as he arrives; 
do not fail to do so. — There, he is coming in. — Post- 
man, have you anything for me ? — Yes, madam, I 
have many things : a box, three letters, a fashion- 
paper, and a roll containing an engraving. — Oh! give 
me the box quickly, it contains a ring and a bracelet 
for my new-year's gift. It is a gift from my god- 
father and my god-mother. They are so very kind 
to me. — Madam, there is an extra charge on one 
letter. — How much is there to be paid ? — Ten cen- 
times. — Sarah, settle that. Postman, will you be kind 
enough to bring me postage-stamps when you come 
back. — With pleasure. — Do not forget it. — I will not 
forget it. You will have them to morrow, without 
fail. How many of them do you want? — Four of ten 
centimes, three five centimes and one of one centime. 
It is altogether fifty-six centimes. — It is well, madam. 
— Now, let us read the paper. 

MONOLOGUE. 
This dear paper ! This friend of the family, a little in- 
discreet sometimes, it is true, by meddling a little too much 
in private affairs. However we must forgive it something, 
for it renders us services. If, for example, this companion, 
so faithful, so regular, morning and evening, was missing, 
what would we do the whole day, in the absence of those who 
are dear to us ? Let us be frank. It does not displease us, 
I confess, to read over the reports of these little scandals 
which are to the papers what spice is to an insipid dish. 
The disgestion of it woulc} often be difficult. After all, the 



9 6 
Apres tout, l'exposition publique d'un scandale est peut-etre 
un bicn. Telle est l'opinion d'Eugene Sue qui, comme les 
disciples de Thomeopathie, pretend guerir le mal par le mal. 
enseignerla vertu en exposant le vice. En eveillant l'atten- 
tion publique, la presse, dit-on, empeche de nouveaux scan- 
dales. C'est possible. Cependant, n'est-il pas a craindre 
qu'elle ne pervertisse, peu a peu, les masses ? Mais, laissonL 
la les questions de morale et lisons. 

26 
Appretons-nous pour sortir. Etes-vous prete? — 
Je voudrais changer de toilette. Voulez-vous bien 
m'attendre ? — Volontiers, mais ne soyez pas longtemps 
a vous habiller. — Ce sera bientot fait. — Me voici. Je 
vous demande pardon de vous avoir fait attendre. — 
Avez-vous votre porte-monnaie? — Oui, je l'ai. — N'ou- 
bliez pas la liste des visites a rendre. Ou est votre 
carnet ? — Le voici.— Ouvrez la porte.— Emportons la 
clef. — Prenez bien garde de glisser. II y a du ver- 
glas. II a gele cette nuit. — Traversons la rue. Pre- 
nons le trottoir, de l'autre cote ou il y a du soleil. — 
II fait froid et sec aujourd'hui. C'est un temps sain. 
— Vous allez un peu trop vite, je ne peux pas vous 
suivre; marchez plus lentement. — Oh! — Qu'y a-t-il? — 
J'ai failli tomber. — Donnez-moi lebras. — Je commence 
a. me sentir fatiguee. — Et moi, aussi. — Voici lamaison 
de mon amie; entrons-y. Nous nous y reposerons j 
quelques instants. Mon amie est une personne tres 
agreable. — Je ne la connais pas, je ne l'ai jamais vue. 
«— Je: vous presenterai h elle. — Madame B . . , est-elle 



97 
public exhibition of a scandal is perhaps useful. Such is, at 
least, the opinion of Eugene Sue, who like the disciples of 
homeopathy, pretends to cure an evil by an other evil and 
teach virtue by exposing the vice. By awakening public at- 
tention, the Press, they say, prevents new scandals. That is 
possible. Is it not to be feared however that it would pervert 
the great mass of people gradually ? But let us put aside 
the questions of morals and let us read. 

26 
Let us get ready to go out. Are you ready ? — I 
would like to change my dress. Will you be kind 
enough to wait for me ? — Willingly, but do not be 
long dressing yourself. — It will soon be done. — Here 
I am. I ask your pardon for having kept you wait- 
ing. — Have you your purse ? — Yes, I have it. — Do not 
forget the list of the calls we have to make. Where 
is your memorandum-book ? — Here it is. — Open the 
door. Let us take the key with us. — Look out not to 
slip. There is a frost. It froze last night. — Let us 
cross over the street. Let us go on the sidewalk on 
the other side, where it is sunny. — It is cold and dry 
to-day. It is healthy weather. — You go a little too 
quick, I cannot follow you ; walk more slowly. Oh! 
■ — What is the matter ? — I came very near falling. — 
Give me your arm. — I begin to feel tired. — I also. — 
There is my friend's house ; let us go in there. We 
will rest there for a few moments. My friend is a very 
agreeable person. — I do not know her, I have never 
seen her. — I will introduce you to her. — Is Mrs. B 



' 9§ 
chez elle? — Non, madame, elle vient de sortir. — Eh 
bien, rentrons chez nous. 

27 

Avez-vous fait une bonne promenade ? — Oui, deli- 
cieuse. — Vous sentez-vous mieux ? — Le grand air m'a 
fait du bien. Mon mal de tete a disparu, comme par 
enchantement. — J'en suis bien heureuse. — II faut que 
faille au Conservatoire. — Qu'y faites-vous? — J'y 
prends des lecons de piano et de chant. — Combien de 
fois par semaine ? — Tous les deux jours.— Avez-vous un 
bonprofesseur ? — Excellent. — Quelle methode suit-il? 
— La methode de Jacotot, celebre professeur fran- 
£ais. — En quoi consiste-t-elle? — Aattaquer lesdifficul- 
tes, apres avoir enseigne a l'eleve les notions elemen- 
taires. — Y a-t-il beaucoup d'eleves au Conservatoire ? 
— II y en a plusieurs centaines. — Bonjour, M r le Pro- 
fesseur. — Bonjour, mademoiselle. — Ne suis-je pas en 
retard ? — Tant soit peu. Osmmencons sur le champ. 
Voulez vous bien jouer un morceau de Chopin? 
Ralentissez un peu le mouvement. Maintenant, 
chantez 1'air de Lucie Lamermoor. — Je crains de 
ne pouvoir le faire convenablement. — Pourqnoi ? 
— Parce que je suis enrouee. — Eh bien ; nous 
remettrons le chant a la la prochaine legon. En 
attendant, etudiez bien ; au revoir. 

£§ 

Midi vient de sonner. C'est Theure du dejeuner. 
Tout le monde est-il ici ? Je ne vois pas Elise, serait- 
elle malade ?— Oh, non! je lai vue ce matin, elle se 



99 
at home? — No, madam, she has just gone out. — Well, 
let us go back home. 

27 

Did you have a nice walk? — Yes, a delightful 
one. Do you feel better ? — The open air has done 
me good. My headache has disappeared as if 
by magic. — I am very happy for it. — I must go to 
the Conservatory. — What are you doing there ? — I 
take piano lessons and singing lessons there. — How 
many times a week? — Every other day. — Have 
you a good professor? — An excellent one. — What 
method does he follow ? — The method of Jacotot, 
a celebrated French professor. — What does it con- 
sist in?— In broaching difficulties, after having taught 
the pupil the elementary notions. — Are there many 
pupils in the Conservatory ? — There are several hun- 
dreds. — Good morning, professor. — Good morning, 
Miss. — Am I not late*? — Only a few minutes. 
Let us begin at once. Will you be kind enough 
to play a piece of Chopin ? Go a little more slowly. 
Now, sing the tune of Lucia di Lamermoor. — 
— I am afraid I am not able to do it properly. — Why? 
Because I am hoarse. — Well, then we shall post- 
pone the singing till the next lesson. — In the mean- 
while, study well. Good-bye. 

28 
It has just struck twelve o'clock. It is time for 
breakfast. Is every body here? I do not see Eliza, 
might she be sick? — Oh, no! I saw her this morning, 



IOO 

portait a merveille. — Ou pensez-vous qu'elle soit ? — 
Probablement dans sa chambre. — Allez Tappeler. — 
La voici. — Vous etes un peu en retard, ma chere. — Je 
ne pensais pas qu'il flat si tard. — Venez vous asseoir 
aupres de moi. Jean, servez le lunch. — Voila des 
cotelettes d'agneau, du rosbif, des oeufs a la coque, 
des pommes de terre frites. Choisissez, et que 
chacun se serve a son gout. Voulez-vous bien 
me passer le sel et le poivre. — Versez-moi, s'il 
vous plait, un verre d'eau. — Merci. — Vous servirai- 
je un peu de salade? — J'en prendrai volontiers. — 
Elle est bien assaisonnee. — Desirez-vous encore 
quelque chose? — Non, merci; je n'ai plus faim. — 
Prendrez- vous un peu de dessert? Voila des 
oranges, des dattes, des figues, du raisin, des 
amendes, des poires, des peches, des gateaux. 
Prenez ce que vous aimez le mieux. — Madame, 
la voiture est prete. — J'ai une visite a faire. Voulez- 
vous bien m'excuser. A bientot. 

29 

On sonne. Marguerite, allez voir ce que c'est. — 
C'est une visite, madame; il y a une voiture devant la 
porte. — Si c'est M me D. . , faites-la entrer au salon. — 
Madame B. . , est-elle visible? — Je ne sais pas, ma- 
dame, je vais voir. — Remettez-lui ma carte, s. v. p. — 
Donnez-vous la peine d'entrer et de vous asseoir, je 
serai de retour dans un instant. Ma maitresse va des- 
cendre. Elle vous recevra avec plaisir. — Ah! ma chere, 
que je suis enchantee de vous revoir! — Je reviens de 



101 

she was in splendid health. — Where do you think she 
may be ? — Probably in her room. Go and call her. — 
Here she is. — You are a little late, my dear. — I did not 
think it was so late. — Come and sit down near me. 
John, serve the lunch. — There are some lamb chops, 
some roast-beef, some soft boiled eggs, some fried 
potatoes. Select what you want and let every body 
help himself according to his taste. Will you kindly 
pass me the pepper and the salt. — Pour me a glass of 
water, if you please. — Thank you.— Shall I serve you 
a little salad ? — I will take some willingly. — It is well 
seasoned. — Do you wish anything else ? — No, thank 
you ; I am hungry no more. — Will you take a little 
dessert ? There are some oranges, some dates, some 
figs, some grapes, some almonds, some pears, some 
peaches, some cakes. Take what you like best. — 
Madam, the carriage is ready. — I have a call to make. 
— Will you be so kind as to excuse me. — Good-bye 
for a little while. 

29 

Some one rings. Margarita, go and see what it is. 
— It is a visit, madam ; there is a carriage before the 
door. — If it is Mrs. D , show her into the drawing- 
room. — Is Mrs. B to be seen ? — I do not know, 

madam, I am going to see. — Hand her my card, if 
you please. — Be kind enough to come in and sit down, 
I will be back in a moment. — My mistress will come 
down. She will receive you with pleasure. — Ah! my 
dear friend, how delighted I am to see you again! I 



102 

Paris; ma premiere visite est pour vous. — Vous etes 
bien aimable d'avoir pense a moi. — Comment va-t-on 
chez vous ? — Tout le monde se porte bien. — J'ai change 
de logement. — Oil demeurez-vous, maintenant? — Tout 
pres d'ici, dans la quinzieme rue. — Quel numero ? — 
Cent quarante et un. — Nous pourrons nous voir sou- 
vent. — Je Tespere bien. — Comme ce sera agreable! — 
Qu'y a-t-il de nouveau ? — Rien que je sache. Je suis 
si occupee avec mon demenagement; quelle affreuse 
corvee! Excusez-moi de vous quitter. — Ne vous en 
allez pas encore. — II le faut, j'ai des commissions 
pressantes a faire. — Revenez bientot. — Aussitot que 
je serai installee. — Eh bien, a un de ces jours. — 

Sans adieu. 

30 

Quel temps desagreable! II ne cesse de pleuvoir. 

Ce sont de veritables giboulees de mars, en plein 

avril.— Vous ne devriez pas sortir par un temps pa- 

reil — Je ne puis pas m'en dispenser — II fait sale dans 

les rues, vous abimerez votre toilette. — Marie, donnez- 

moi mon parapluie. Ou est mon impermeable ? Si 

quelqu'un vient pendant mon absence, vous lui direz 

que je rentrerai a cinq heures. — Bien, madame. — II 

pleut a verse, a present. Decidement, il fait trop 

mauvais pour sortir a pied. Guillaume dites au co- 

cher d'atteler le coupe; qu^l se depeche. — La voiture 

est a la porte. — Partons. 

31 

Quel temps superbe! Allons nous promener.— Je 
me suis deja promenee ce matin. — Ou voudriez-vous 



16$ 

have just returned from Paris; my first visit is for 

you. You are very kind to have thought of me. — 

How are they at your house ? — Everybody is well. — 

I have moved. — Where do you live now ? — Very near 

here, on Fifteenth street. — What number? — One 

hundred and forty one. — We will be able to see 

each other often. — I hope so, indeed. — How charming 

it will be! — Is there anything new? — Nothing that I 

know of. I am so busy moving my furniture; what 

a disagreeable task! Excuse me for leaving you. — Do 

not go away yet. — I must, I have pressing errands 

to do. — Come back soon. — As soon as I am settled 

down. — Well! I hope to see you one of these days. — 

Till I see you again. 

30 

What disagreeable weather! It rains incessantly. 

They are true March showers, in the midst of April. — 

You ought not to go out in such weather. — I cannot 

help it. — It is dirty in the streets, you will spoil your 

dress. — Mary, give me my umbrella. — Where is my 

waterproof ? If any body comes, during my absence, 

you will tell him that I will be back at five o'clock. — 

All right, madam. — It is pouring now. The weather 

is entirely too bad to go out on foot. William, tell 

the coachman to put the horses to the "coupe;" let 

him hurry up. — The carriage is at the door. — Let 

us start. 

31 

What magnificent weather! Let us go and take a 
walk. — I have already taken a walk this morning. — 



id4 
aller? — Au pare. — C'est trop loin. — Eh bien! nous 
pourrions y aller a pied et revenir en voiture. — C'est 
une bonne idee. — Je commande la voiture pour qua- 
tre heures, a l'entree du pare. — Montez-vous a cheval 
quelquefois? — J'ai pris des lecons d'equitation, mais il 
ne s'en suit pas que je sois une bonne ecuyere. Je 
fais aussi des armes. C'est un bien bon exercice qui 
met en mouvement tous les muscles du corps et en- 
tretient la sante. — L'heure du diner approche. — Ren- 
trons a la maison. — Nous avons bien le temps. — Je 
dois mettre une autre toilette pour le diner. — Accele- 
rons le pas. — Ne courez pas ainsi, j'ai de la peine a 
vous suivre. — Nous voici arrivees. Entrons vite. 

32 

Jean, est-il venu quelqu'un pendant notre absence? — 
Qui, madame, un monsieur. — Le connaissez-vous ? — 
Non, madame, je ne l'ai jamais vu. — N'a-t-il paslaisse 
sa carte ? — Si, madame.— Ou est-elle ? — Je l'ai mise sur 
la table de votre chambre. — Qu'a dit ce monsieur ? — 
II a dit qu'il repasserait demain, sans faute, espe- 
rant etre recu. — A-t-il paru contrarie? — Pas le moins 
du monde; il a ajoute qu'il etait charge d'une com- 
mission de la part de madame votre mere. — Oh! je 
sais ce que c'est; il n'y a pas peril en la demeure. 
Quand il reviendra, vous l'introduirez. 

Maintenant occupons-nous de notre toilette. Quelle 
robe mettrai-je ? Ma robe noire est un peu trop se- 
rieuse, et puis, elle ne me va pas bien. Mettons la 
bleue avec volants de Valenciennes, c'est plus gai. 



»5 

Where would you like to go ? — To the Park. — It is too 
far. — Well, we could go there on foot and come back 
in a carriage. — It is a good idea. — I will order the 
carriage for four o'clock, at the entrance of the Park. 
— Do you go sometimes on horseback? — I took riding 
lessons, but it does not follow that I am horse-woman. 
I fence also. It is a good exercise which sets in mo- 
tion all the muscles of the body and preserves the 
health. — The hour for dinner is drawing near. — Let 
us go back home. — We have plenty of time. — I must 
put on another dress for dinner. — Let us quicken 
our steps a little. — Do not run so, I can hardly follow 
you. — We have now arrived. — Let us go in quickly. 

32 

John, has any one come during our absence ? — Yes, 
madam, a gentleman. — Do you know him ? — No, 
madam, I have never seen him. — Did he not leave his 
card ? — Yes, madam. — Where is it ? — I put it on the 
table, in your room. — What did the gentleman say? 
— He said that he would call again to-morrow, with- 
out fail, hoping to see you. — Did he look vexed ? — 
Not the least in the world ; he added that he was 
intrusted with an errand by your mother. — Oh ! I 
know what it is ; delay will not be prejudicial. When 
he comes back, you will show him up. 

Now, let us busy ourselves with our toilet. What 
dress shall I wear ? My black dress is a little too 
sober, and besides it does not fit me very well. Let 
us put on the blue one with Valenciennes flounces, it 



io6 
Sara, arrangez ma coiffure. Depechons-nous. La 
cloche sonne pour le diner. Descendons. 

LE DINER. 

Mes enfants, mettons-nous a table. Elise, asseyez- 
vous a ma droite; vous, Louis, a ma gauche. Marie 
se placera en face, et Henri a cote de sa soeur. 

Marie, lisez-nous le menu. 

MENU. 

HUITRES. 

Huitres d'Ostende. 

POTAGE. 

Soupe a l'oseille, Vermicelle. 

POISSON. 

Turbot, sauce aux capres. 

hors-d'ceuvre. 

Anchois, sardines, radis et beurre. 

ENTREE. 

Pigeonneaux aux petits pois. 

LEGUMES. 

Pommes de terre nouvelles. 

ROTIS. 

Filet de boeuf. Gigot de mouton. 

ENTREMETS. 

Croute aux champignons. 

GIBIER. 

Becassines et alouettes. 

DESSERT. 

Fromage. Fraises. Peches. 
Amendes. 



t6J 

is more gay. Sarah, dress my hair. Let us hurry. 
The bell rings for dinner. Let us go down. 

THE DINNER. 

Children, let us go to the table. Eliza, sit at my 
right, and you, Louis, at my left. Mary will sit in 
front and Henry beside his sister. 

Mary, read us the menu. 

MENU. 

OYSTERS. 

Ostend Oysters. 

SOUP. 

Sorrel soup, Vermicelli. 

FISH. 

Turbot, caper sauce. 

SIDE DISHES. 

Anchovies, sardines, radishes, butter. 

ENTREE. 

Young squabs with green peas. 

VEGETABLES. 

New potatoes. 

ROAST. 

Fillet of beef. Leg of mutton. 

ENTREMETS. 

Mushroom-pie. 

GAME. 

Snipe and larks. 

DESSERT. 

Cheese. Strawberries. Peaches. 
Almonds. 



Ce menu nous satisfait, maman, mais en mangeant 
ne faudrait-il pas boire un peu ? — Eh bien, vous aurez 
du vin de Bordeaux, et, apres le dessert, la demi-tasse 
de cafe. Mais il faut que ce diner, tout en etant recon- 
fortant, vous soit de quelque utilite, au point de vue 
de Tinstruction. 

Et d'abord, Marie, dites-nous ce que c'est qu'un 
menu. — Un menu est la liste de ce qui doit composer 
un repas. — Savez-vous en combien de parties le 
service de la table est divise? — En trois services. — 
Que comprend le premier service ? — Les potages et 
les entrees. — Le deuxieme service? — Les rotis. — Le 
troisieme service ? — Le dessert. 

Maman, expliquez-nous ce que c'est qu'une entree.— 
Les entrees sont les premiers mets servis dans un repas. 

Qu'appelle-t-on hors-d'oeuvre? — Ce sont de petits 
mets qui se mangent apres le potage, tels que sardi- 
nes, anchois, thons marines, radis, beurre, olives. 

Qu'entend-on par entremets? — Un entremets estun 
mets leger que Ton sert apres le roti et avant le des- 
sert, tels que punch au rhum, croute a l'ananas, sa- 
lades diverses. 

Qu'est-ce qu'un condiment ? — Un condiment ou as- 
saisonnement est un ingredient pour assaisonner un 
mets, comme le sel, le poivre, rail. 

Paul, voulez-vous encore du potage? — Volontiers, 
il est excellent. — Marie, voulez-vous me verser un 
verre d'eau. Passez-moi l'huilier s. v. p. — Je vous 
demanderai un peu de jus. — Voulez-vous encore du 



T09 

We are satisfied with this menu, mamma, but while 
eating, is it not necessary to drink a little? — Well, 
you will have some claret, and after the dessert half 
a cup of coffee. But this dinner, though giving you 
physical strength, must also be of some educational 
value. 

And first, Mary, tell us what a menu is? — A menu 
is the list of what a meal is composed. — Do you 
know into how many parts the dinner-service is 
divided? — Into three courses. — What does the first 
course comprise ? — The soups and entrees. — And the 
second course? — The roast meats. — The third course? 
— The dessert. 

Mother, explain to us what is an " entree." — The 
"Entrees" are the dishes served first in a meal. 

What do you call " hors d'oeuvre ? " They are small 
dishes which are served after the soup, such as sar- 
dines, anchovies, tunny-fish, radishes, butter, olives. 

What do you understand by "entremets? — An 
"entremets " is a light dish that is served after the 
roast and before the dessert, such as rum punch, 
ananas-pudding, salads of every kind. 

What is a condiment ? — A condiment or seasoning, 
is an ingredient to season a dish, such as salt, pepper, 
garlic. 

Paul, will you have some more soup ? — Willingly, 
it is excellent. — Mary, w r ill you pour me out a glass of 
water ? Will you please pass me the caster ? — I will 
ask you for a little gravy. — Will you have some more 



no 

rati ? — Un petit morceau seulement. — Ne voulez-vous 
plus de legumes? — Merci, j'en ai eu suffisamment. — Qui 
veut de la salade? — Nous Taimons tous. Cette sa- 
lade est bien assaisonnee. — Passons au dessert. — 

Maman, je voudrais bien encore vous demander 
quelque chose. — Quoi, Marie? — Je desirerais savoir 
les noms d'une partie des mets qu'on sert aux grands 
diners comme ceux que vous donnez a vos amis. — Eh 
bien, Marie, je vais, pendant que vous prendrez le 
dessert, vous faire un petit cours de cuisine. — Cela me 
servira pour plus tard quand je serai une grande da- 
me, a mon tour. — 

Vous savez ce que c'est qu'une cuisine. Un mai- 
tre d'hotel est celui qui dirige tout le service de la 
table. Le cuisinier, ou chef dans les grandes maisons, 
est celui qui prepare les mets. Les valets de cuisine 
s'appellent marmitons. 

En fait d'huitres, pour suivre l'ordre de notre diner 
de ce jour, il y en a de plusieurs especes dont les plus 
renommees sont celles d'Ostende (Belgique), et cel- 
les de Marennes. Les huitres de Cancale sont d'une 
qualite inferieure. 

Comme potages, il y a le simple bouillon, le con- 
somme ou bouillon extra fort, les potages au 
riz, vermicelle, semoule, a l'oseille, aux ecrevis- 
ses, etc. 

Nous avons les poissons de mer et les poissons d'eau 
douce ou de riviere. Parmi les premiers figurent, en 
premiere ligne, le turbot, le saumon, la morue. Dans 



Ill 

roast meat — A small piece only. — Don't you want 
any more vegetables ? — Thank you, I have had enough. 
— Who wants some salad ? — We all like it. This salad 
is well seasoned. — Let us pass to the dessert now. 

Mother, I would like very much to ask you some- 
thing else. — What is it, Mary ? — I would like to know 
the names of some dishes which are served at grand 
dinners, such as those you give to your friends. — 
Well, Mary, while you partake of the dessert, I will 
give you a little lecture on cooking. — That will be 
useful to me, later on, when I am a lady of fashion, in 
my turn. — 

You know what a kitchen is. — A " maitre d'hotel " 
is the one who superintends the table ser- 
vice. The "chef-" or chief cook in fashionable 
houses is the one who prepares the dishes. The 
kitchen servants are called assistants. 

In regard to oysters, to follow the order of our 
dinner of to-day, there are several kinds, of which 
the most celebrated are Ostend oysters (Belgium) 
and Marennes oysters. The oysters of Cancale are 
of an inferior quality. 

As to soups, there are the broth, and the "con- 
somme" or condensed broth, the rice-soup, the ver- 
micelli, the semoule, the sorrel soup, the crawfish 
soup, etc. 

We have salt water fish and fresh water fish. 
Among the former in the first rank figure the 
turbot, the salmon, the cod fish. In the second 



112 

la seconde categorie viennent les truites, la carpe, le 
brochet, et, comme crustaces, l'ecrevisse, le homard, 
les crevettes, les crabes. 

Comme hors-d'oeuvre, des sardines, des anchois, 
des crevettes, des radis, du raifort, etc. 

Comme entrees, de la tete de veau, des cotelettes a 
la jardiniere, un vol-au-vent financiere. 

Comme condiments ou assaisonnements, du poivre, 
du sel, de la moutarde, du raifort, des cornichons, du 
vinaigre, du citron, de Tail, des oignons. 

Comme legumes, des pois, des feves, des carottes, 
des choux-fleurs, des asperges, des navets. 

Comme rotis, du rosbif, du gigot de mouton, une 
oie, une dinde, un poulet. 

Comme gibier, un perdreau, une grive, une caille, 
une becasse, des becassines, un faisan, des alouettes, 
du canard sauvage, du chevreui], du lievre. 

Comme entremets, une omelette soufflee, unecroute 
a l'ananas, des champignons. 

Comme salade, il y a la chicoree, la laitue. 

Quant aux dessert, il comprend les fromages, les 
glaces, les gateaux et les fruits dont l'enumeration 
serait trop longue, et que vous connaissez, du reste, 
en grande partie. 

Les vins sont, le bordeaux, le bourgogne, le cham- 
pagne et les vins liquoreux, tels que le frontignan, 
le malaga, le madere, le porto. 

II nous reste a citer quelques ustensiles de cuisine 



"3 

category come the trout, the carp, the pike ; and 
among the crustaceans — the crawfish, the lobster, the 
shrimps, the crabs. 

As side-dishes — sardines, anchovies, shrimps, rad- 
ishes, horse-radish, and so forth. 

As "entrees" — calf's head, mutton chops "a la 
jardiniere," savoury puff. 

As condiments or seasonings — pepper, salt, horse- 
radish, mustard, pickles, vinegar, lemon, garlic, 
onions. 

As vegetables — peas, Lima-beans, carrots, cauli- 
flowers, asparagus, turnips. 

As roast meats — roast-beef, leg of mutton, a goose, 
turkey, chicken. 

As game — a partridge, a thrush, a quail, a wood- 
cock, snipe, a pheasant, larks, wild duck, venison, 
hare. 

As "entremets" — an omelet "soufflee," pineapple 
pie, mushrooms. 

As salads, there are the chicorry, the lettuce. 

As to dessert, it comprises, cheese, ice-creams, 
cakes and fruits of which the enumeration would be 
too long and which, besides, you know for the most 
part. 

The wines are — Claret, Burgundy, Champagne, and 
cordials such as Frontignan, malaga-wine, madeira- 
wine, port-wine. 

There only remains for us to mention a few kitchen 



ii4 
et objets* de table. Ceci, Marie, sera votre affaire; 
faites-nous-en une petite recapitulation, en commen- 
£ant par la cuisine. 

Une pelle, des pincettes, un coquemar, une mar- 
mite, unecuiller, unefourchette, un couteau, la nappe, 
une poele, une rape, une passoire, un rouleau, une 
broche, un seau, un balai, le poivrier, le saladier, une 
bouteille, une carafe, un carafon, un verre, une tasse, 
la vaisselle, une assiette, un plat, une soucoupe, la 
sauciere, l'huilier, la saliere, une serviette, une corbeille, 
un coquetier, un gobelet, un plateau. 

Eh bien, mes enfants, avez-vous bien dine ? — Oui, 
tres bien; et puis nous avons joint l'utile a l'agre- 
able. — Levons-nous de table et passons au salon pour 
y finir la journee. 

Qu'allons-nous faire? — Marie va nous jouer un 
morceau. — Mais, maman. ... — II n'y a pas de mais; 
une jeune fille ne doit jamais faire d'observation 
a sa mere. — Je vais m'executer, si cela peut faire 
plaisir. 

Marie, vous avez tres bien joue et vous meritez un 
compliment. 

Maintenant, ouvrez la table de jeu. Nous allons 
jouer aux cartes. Faisons une partie de whist. — Ce 
jeu est bien serieux. — Alors, jouons au vingt et un, 
au rams, ou au nain jaune. — Henri, melez les cartes. 
Paul, voulez-vous couper? Marie, c'est a vous adon- 
ner. Emile, c'est a votre tour a jouer. — Qu'est-cequi 
est atout ? — C'est carreau. — Paul a gagne la partie. 



"5 

utensils and table articles. This, will be your task, 
Mary; make a little recapitulation of them, beginning 
with the kitchen. 

A shovel, tongs, a water kettle, a soup-pot, a spoon, 
a fork, a knife, the table-cloth, a frying-pan, a grater, a 
stainer, a roller, a skewer, a pail, a broom, the pepper- 
stand, the salad-bowl, a bottle, a carafe, a decanter, a 
glass, a cup, a dinner-service, a plate, a large plate, 
a saucer, the gravy-tureene, the oil-cruet, the salt- 
stand, a napkin, a fruit-basket, an egg-cup, a metal- 
cup, a tray. 

Well, children, did you have a good dinner ? — Yes, 
very good, and, besides, we have combined the use- 
ful with the pleasant. — Let us rise from table and 
let us go into the drawing-room to finish the day. 

What are we going to do ? — Mary will play a piece 
for us. — But mother. . . . — There is no but about it, 
a young lady must never contradict her mother. — 
I am ready to do as you say, if it will please the 
company. 

Mary, you played very well indeed and you deserve 
my congratulations. 

Now, open the card-table. We are going to play 
cards. Let us have a game of whist. — That game is 
rather serious. — Well, then, let us play "Vingt et Un" 
"rams " or " nain-jaune." Henry, shuffle the cards. 
Paul, will you cut the cards? Mary, it is your turn 
to deal. Emil, it is your turn to play. — What is 
trump? — It is diamond. — Paul has won the game. 



n6 



4me PARTIE. 



CONVERSATION. 

EXPRESSIONS ET PHRASES IDIOMATIQUES. 

i. II est a son aise. — Yetes-vous alle? — Allons-nous-en. 
— Allons-nous-en. — Allez-vous-en. — Comment allez- 
vous? — Comment cela va-t-il? — Je vais mieux. — Cela 
va-t-il ? — Cela ne va pas. — Je m'en suis alle. 

2. N'y faites pas attention. — En attendant. — Je n'en 
ai pas. — Je n'en ai plus. — L'avez-vous ? — Jenel'aipas. 
— Aller et venir. — Quel age a-t-elle ? — Elle n'a que 
dix huit ans. Elle a une mine distinguee. 

3. II n'est bon a rien. — J'ai mal a la bouche. — Quel 
but a-t-il ? — Ce n'est pas cela. — C'est comme cela. — 
Chemin faisant. — Que c'est cher! — Chez qui ? — Chez le 
docteur. — Otez votre chapeau. 

4. Comme ci comme ca. — La porte d'a cote. — Je 
crois que non. — Je crois que oui. — Je lecrois aussi. — 
Coute que coute. — De tout mon coeur. — J'ai mal au 
cote. — C'est chose difficile. — Vous etes-vous fait mal ? 

5. On vous demande. — Qui me demande? — Desser- 
vez. — Depechez-vous. — Elle doit venir. — Qui vous a 

(Continue dans le 2d livre.) 



ill 

4th PART. 



CONVERSATIONS. 

IDIOMATIC PHRASES AND SENTENCES. 

i. He is well off. — Did you go there? — Come along; 
let us be going. — Go away; be off. — How are you ? — 
How are you ? — I am better. — Will that do ? — That will 
not do. — I went away. 

2. Do not mind it. — In the meantime. — I have not 
any; I have none. — I have no more. — Do you have it ? — 
I do not have it. — To go to and fro. — How old is she ? 
— She is but eighteen years old. She looks stylish. 

3. He is good for nothing. — My mouth is sore. — 
What is his aim ? — That is not it. — So it is. — On the 
way. — How dear! — At whose house ? — At the doctor's. 
— Take off your hat. 

4. So, so. — The next door. — I think not. — I think so. 
— I think so, too. — Cost what it may. — With all my 
heart. — I have a pain in my side. — It is a difficult 
matter. — Did you hurt yourself ? 

5. You are wanted. — Who wants me? — Clear the 
table. — Do make haste. — She is to come. — Who told 

(Continued in 2d Book.) 



Tig 



PROVERBS. 






Les absents ont toujours tort. 

The absent are always in the wrong. 

Qui m'aime, aime mon chien. 

He who loves me, loves my dog. 

Point d'argent, point de Suisses. 

No longer pipe, no longer dance. 

Les petits presents entretienneot l'amiti& 

Little gifts keep up friendship. 

Pierre qui roule n'amasse pas mousse. 

A rolling stone gathers no moss. 

II ne faut pas juger sur les apparences. 

Never judge by appearances. 

Tout vient a point et qui sait attendre. 

Patient 'waiters are no losers. 

Aide-toi et Dieu t'aidera. 

The Lord helps those who help themselves. 

L'appetit vient en mangeant. 

Eating brings an appetite. 

Un averti en vaut deux. 

Forewarned is forearmed. 

Borne n'a pas ete batie en un jour. 

Home was not built in a day. 

Xies bons comptes font les bons amis. 

Short reckonings make long friends. 

Mettre la charrue devant les boeufs. 

To put the cart before the horse. 

Qui casse les verres les paie. 

Who breaks, pays. 

II faut battre le fer quand il est chaucL 

One must strike the iron while it is hot. 



Chacun son metier. 

Everyone to his trade. 

Un malheur ne vient jamais seul. 

Misfortunes never come singly. 

La necessite est la mere des inventions. 

Necessity is the mother of invention. 

L'occasion fait le larron. 

Opportunity makes the thief. 

Petit a petit l'oiseau fait son nid. 

Light strokes fell great oaks. 

La parole est d'argent ; le silence est d'or. 

Speech is silver ; silence is gold. 

Apres la pluie, le beau temps. 

After a storm comes a calm. 

L'homme propose et Dieu dispose. 

Man proposes and God disposes. 

Une hirondelle ne fait pas le printemps. 

One swallow does not make a summer. 

Les petits ruisseaux font les grandes rivieres. 

Many a mickle makes a muckle. 

Bonne renomm6e vaut mieux que ceinture doree. 

A good name is better, than riches. 

Tout ce qui reluit n'est pas or. 

A 11 is not gold that glitters. 

Qui se ressemble s'assemble. 

Birds of a feather flock together. 

II faut semer pour recolter. 

Who would reap must sow. 

Vaut mieux tard que jamais. 

Better late than never. 

Un tiens vaut mieux que deux tu l'auras. 

A bird in the hand is worth two in the bush. 

Toute verite" n'est pas bonne a dire. 

The truth is not to be spoken at all times. 

(To be continued.) 



iz<$ 



IDIOTISMES, PHRASES IDIOMATIQUES 

ET 

PROVERBES FRANgAIS. 

FRENCH IDIOMS, IDIOMATIC PHRASES, AND PROVERBS. 



Aller d Paris. 
Demeurer d Paris. 
A pied, a cheval. 
Une bague au doigt. 
Signifier un acte judiciaire a 

quelqu'un. 
il'abri. 
A demain. 

Intenter une action d. 
Arracher quelqu'un d la misere. 
Au matin, au soir. 
A temps, d l'heure. 
Caf6 au lait, cafe a la cr£me. 
Un flun, A l'annee. 
A bras ouverts. 
C'est a vous a parler. 
Une bofte a ouvrage. 
Ce de est a moi. 
A la facon de. 
C'est a mon gout. 



To go to Paris.* 

To reside at Paris.* 

On foot, on horseback.* 

A ring on the finger.* 

To serve a writ upon some 

one.* 
Under shelter.* 
Until ^to-morrow. * 
To bring a suit against.* 
To save some one from misery.* 
In the morning, in the even- 
In time.* [ing.* 

Coffee with milk, coffee with cream.* 

One by one. By the year.* 

With open arms.* 

It is for you to speak.* 

A work-box.* 

This thimble is mine.* 

After the manner of.* 

It is according to my taste.* 



* The preceding phrases marked * show the different ways in which the preposi- 
tion d, is used. 



ill 



Acheter en "bloc, comptant, a bon 

marche, a credit. 
Acheter la part de quelqu'un. 
Acheter chat en poclie. [mais. 
Bien mal acquis ne profite ja- 
Accentuer fortement. 
Une bonne action trouve toujours 

sa recompense. 
Sans adieu, a bientot. 
Dire adieu. 
Faire ses adieux. 
Le temps s'adoucit. 
S'adresser mal. 

L'adversite n'epargne personne. 
S adresser ici. 
Fais ce que dois, advienne que 

pourra. 
Une affaire de rien. 
Une affaire d'interet. 
£tre bien dans ses affaires, 
"^tre mal dans ses affaires 
Avoir des affaires par dessus la 

tete. 
Faire V affaire de . , . 
Faire bien ses affaires. 
Cela ne fait rien & l'affaire. 
En faire son affaire. 
Se meler de ses affaires. 
Melez-vous de vos affaires. 
Se tirer d'affaire. 
Les affaires avant tout. 
Vaquer a ses affaires. 
Ce n'est pas une affaire. 
(Test juste mon affaire. 
Ce ne sont pas la vos affaires. 

(Continued in 2d Book.) 



To buy in a lump, for cash, cheap \ 

on credit. 
To buy somebody out. 
To buy a pig in a poke. 
Ill-gotten goods seldom thrive. 
To emphasize. 
A good deed is always rewarded, 

I shall see you again soon. 

To bid farewell. 

To say good-by. 

Tlie weather gets milder. 

To apply to the wrong person. 

Adversity flatter eth no man. 

To inquire within. 

Do what you ought, come what 
may. 

A mere trifle. 

A money matter. 

To be in good circumstances 

To be badly off. 

To be over head and ears in busi- 
ness. 

To answer one's purpose. 

To do well. 

That makes no difference. 

To make one's business of it 

To mind one's business. 

Mind your men business. 

To get out of a scrape. 

Business before pleasure. 

To attend to one's business. 

It is an easy matter. 

That just suits me. 

lliat is no business of yours. 



122 



5me PARTIE. 

MODELES DE LETTRES, CARTES D'INVITATION 
REQUS ET LETTRES DE CHANGE. 

MONNAIES, POIDS, MESURES, ET L'HEURE. 



TERMES EMPLOYES POUR COMMENCER UNE LETTRE. 



Monsieur, 

Madame, 

Mademoiselle, 

Messieurs, 

Monseigneur, 



Madame la (title), 
Cher Monsieur, 
Chere Madame, 
Mon cher Monsieur, 
Mon cher ami, 



TERMES EMPLOYES POUR TERMINER UNE LETTRE. 

Votre ami. 

Votre devoue ami. 

Tout a. vous. 

A vous de tout cceur. Votre tout devoue. 

Croyez-moi, Monsieur, votre devoue. 

J'ai Thonneur d'etre votre tres humble et obeissari 
serviteur. 

Veuillez agreer, Monsieur, Texpression de ma hautd 
consideration. 

(Continue dans le 2d livre.) 



123 



5th PART. 

MODELS OF LETTERS, CARDS, BILLS, RECEIPTS, 
COMMERCIAL LETTERS. 

COINS, WEIGHTS, MEASURES, AND TIME. 



WORDS USED AT THE BEGINNING OF A LETTER. 

Sir. 

Madam. 
Miss. 

Gentleman. 
My Lord. 



My Lady. 
Dear Sir. 
Dear Madam. 
My Dear Sir. 
My Dear Friend. 



EXPRESSIONS USED AT THE CLOSING OF A LETTER. 

Your friend. 

Your devoted friend. 

Entirely yours. 

Heartily yours. 

Yours truly. — Yours sincerely. 

Believe me, sir, yours truly. 

I have the honor to be your very obedient servant. 

I am, sir, with the highest regard, your very obedient 
servant. 

(Continued in 2d Book.) 



124 



TABLE OF FRENCH MEASURES, WEIGHTS, 
AND COINS, 

Reduced to English and American Weights, Measures, 
and Money. 



ITINERARY MEASURE. 

Metre, .... 3*2808992 feet. 

Decametre (10 metres) . 32*808992 feet. 

Kilometre (1,000 metres) . 1093*633 yards. 

Myriametre (10,0000 metres) 6*2138 miles. 

MEASURE OF LENGTH. 



Metre, . , 

Decimetre (10th of a metre) . 
Centimetre (100th of a metre) 
Millimetre (1,000th of a metre) 



3*2808992 feet. 

3*937079 inches. 

0*393708 inch. 

0*03937 inch. 



MEASURE OF SUPERFICIES. 



Are (100 square metres) 
Hectare (10,000 square m.) 
Centiare (1 square metre) 



0*098845 rood. 
2*471143 acres. 
1*196033 square yd. 



SOLID MEASURE. 



Stere (1 cubic metre) . . 

Decastere (10 steres) . . 
Decistere (10th of a stere) 



1.3 1 cubic yard or 
35 cubic feet, 547 

cubic inches. 
13.1 cubic yards. 
3 cubic feet. 918*7 
cubic inches. 



**$ 

MEASURE OF CAPACITY. 

Litre (i cubic decimetre) . 1760773 pint. 

2*2009668 gallons. 
22*009668 galls, or 



Decalitre (10 litres) 
Hectolitre (100 litres) 
Kilolitre (1,000 litres) 



27512 bushels. 

3-426 quarters. 

0*1760773 pint. 



Decilitre (10th of a litre) 

Centilitre (100th of a litre) . 0.01760773 pint. 

WEIGHTS. 

Gramme . . . . . . 15.4325 grains troy. 

Decagramme (10 grammes) 6.43 pennyweight. 
Hectogramme (100 gram- (3.527 oz. av'rdup's or 



mes ( 3.216 oz. troy. 

Kilogramme (1000 gram- j 2.2055 lb. av'rdup's or 
mes ( 2.6803 lb. troy. 

Quintal (50 kilogrammes) 110.274 lb. 
Tonne, tonneau de mer 

(1000 kilogrammes) 19 cwt. 77.5 lb. 

Decigramme (10th of a gr.) 1.5432 grain. 
Centigramme (100th " ) o.i5432grain. 
Milligramme (1000th) " ) 0.015432 grain. 

THERMOMETER. 

o° Centigrade Melting ice . . . 32° Fahrenheit. 

ioo° Do. Boiling water . . 212° Do. 

0° Reaumur Melting ice . . . 320 Do. 

80° Do. Boiling water , . 212° Do, 



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127 

THE TIME OF DAY IN FRANCE, 

(L'heure du jour en France.) 




The hour-hand, marked i, is the starting point : 
twelve o'clock, "midi." 

The minute-hands mark respectively : 

2 : seven minutes past twelve, midi et sept minutes ; 

3 : a quarter past twelve, midi et quart ; 

4 : half past twelve, midi et demi ; 

5 : a quarter to twelve, midi moins un quart; 

6 : seven minutes to twelve, midi moins sept minutes. 
The dotted line on the right half of the clock (from 

XII. to VI.) marks the use of "et," corresponding to 
past y and that on the left, the use of " moins," corre- 
sponding to that of to in English. 

END OF THE FIRST BOOK. 

Notice. — The 2d Book will be sent, post-paid, on remit- 
tance of 50 cents or 2 shillings, by Prof. F. BERGER, 
853 Broadway, New York, 



128 



( To read, write, and speak French is almost an essential to a good 
education." — Geo. F. Hoar, Senator for Massachusetts. 



ACADEMIE FRANgAISE DES EtATS-UnIS. 

(French Academy' of the United States). 

The French Language Taught in all its Branches. 

Conversation a Specialty. 
honorable f. berger, 8s3 broadway, new york, 

DIRECTOR. Domestic Building. 

book:® 

Berger's New Method of Learning the French Language. 

Published by D. Appleton & Co., New York, . . $1.00 

La Grammaire. A French Comedy. Translated into English 

by F. Berger, 40c. 

Berger's " French Language and Conversation." Contains : 
First. The Rudiments of the Language. 
Second. Object Teaching with illustrations.^ 
Third. French-English Conversations. 
Fourth. Idiomatic Expressions and Proverbs. 
Fifth. French Coins, Weights and Measures, etc. . 75c. 

Professor L. J. Simonin says : " It is the best book I ever saw for the study 
of the French Language, and especially for conversation." 

Delon's Pamphlet proving D. Rosenthal's Meisterschaft System 

and Books entirely wrong for studying French, . . 20c. 

Professor L. P. Braive's Pamphlet proving the Berlin's Book 

and Method wrong for the study of French, . . . 15c. ■. 



NOTE. — The boohs above mentioned will be sent post-paid, on re- 
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Professor F. BERGER, 853 Broadway, New York, 



